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THIS VOLUME 


was originally published and copyrighted in 1895 
under the title of The Zanerian Alphabets. It 
was subsequently copy righted in 1900, 1904, and 
1910, and republished and enlarged a number of 
times* in all about 10,000 books having been pub¬ 
lished and sold. 

It is now considerably enlarged and greatly im¬ 
proved, and is re-dedicated to the cause of prac¬ 
tical and artistic Lettering and Engrossing. 
Copyrighted 1918 hv Zaner &r Bloser Company, 
Cplumhus, Ohio. 




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PR/CE, «2.6>0 POSTPAID 



ZANER & BLOSER CO., Publishers 

COLUMBUS, OHIO 


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C. P. ZANER, 

K. A. LUPFER, 

E. L. BROWN, 

P. W. COSTELLO, 

W. A. BAIRD, 

CHARLTON V. HOWE, 
WM. MILNES, 

G. BROOKS, 

C. W. NORDER, 

W. H. ANDERSON, 
KNAPP & RIGHTMYER, 
WILLIAMS & PACKARD, 
G. BICKHAM. 


H. C. RICE, 

S. D. HOLT, 

E. A. OLIVER, 
CHAPMAN, 

GASPARD, 

E. L. COTE, 

H. E. BROCK, 

E. C. EIR1CH, 

H. WEIR, 

A. C. WEBB, 

HARRY WADLAND, 

W. E. DENNIS, 

M. JACQUES, 

THE PUBLISHERS. 




CREDIT IS HEREBY CHEERFULLY 
AND GRATEFULLY GIVEN TO 
THE FOLLOWING ARTISTS WHOSE 
WORN APPEARS IN THIS VOLUMN 
OF PEN ART AND LETTERING: 


1 > 
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PREFACE 


The need of a work on the subject of lettering that would aid the home student in his efforts to learn 
engrossing, and a desire to present in permanent shape the forms given to hundreds of students, who have 
requested their publication, impelled the compilation of this manual. 

The chief effort has been to present clear and concise instructions in connection with plain, practical forms. 
Elaborate, intricate, old-time alphabets have been omitted. Novelty has been avoided. Basic principles and 
standard forms have been considered and inserted. Original alphabets have been added, but not merely because 
they are new, but because they are practical. 

Simplicity, strength, beauty and speed have been uppermost in mind. Ornament has been added, but sparingly. 
It is better for learners to err on the side of simplicity rather than on the side of complexity and illegibility. Ef¬ 
fect is worth more than fine lines, and ease of execution is preferable to tedious detail. 

Roundhand has been given first place on account of beauty, practicability and appropriateness. No other style 
of writing is so widely admired, and so truly artistic for engrossing purposes. Designs have been given to illus¬ 
trate the application of lettering to commercial and art purposes. Different processes of engraving are illustrated, 
and work on prepared and grey papers is presented. 

The book has been gotten up to reveal rather than conceal methods of working, and to illustrate actual pen 
work with its usual imperfections as well as its merits. This feature alone is worth more than any other, and is 
the one that seems thus far to have been overlooked by co-workers. The art of making letters is one thing, but the 
art of teaching others how to make them is another, and the more important, by far, of the two. As to how well 
we have succeeded in both, the reader may judge. The many editions of the book that have been sold indicate 
its popularity and heplfulness. 


MATERIALS FOR ROUNDHAND OR ENGROSSERS’ SCRIPT 


Any good writing ink will do for practice, but it is not best, neither will it answer for engrossing. Ink should 
have enough body to produce a black shade without retouching, but it need not be glossy. Arnold’s Japan will 
do. India Ink is better. Prepared Eiquid India (Zanerian brand) is best. This ink diluted with above five parts 
water and about one-fourth part of gumarabic to one part of ink, makes a fine ink at a low price. Ink needs 
enough gum to keep it from flowing too freely but not enough to produce heavy light lines. 

Use an oblique holder with the point of the pen slightly elevated. For general engrossing, use Zanerian Fine 
Writer, and Gillott No. 303 pens for fine work. Spencerian Epistolaire can be used for very small work. 

Paper should be of a fine quality, bond, wedding or cardboard. Thin, cheap, snft paper should be avoided. 

INSTRUCTIONS 


Roundhand is the highest art in the matter of script forms. It is essentially decorative in character and 
partakes largely of the fine arts. It is specially adapted to the engrossing of resolutions, diplomas, certificates, 
policies, valuable documents, records, etc., as well as for display advertising, letter note and bill heads, calling 
and professional cards, announcements, etc. 

No other style is so widely admired bv educated people as roundhand. It has continued in use with but 
slight modifications for three centuries. It will continue to be used for many years to come, and there is a con¬ 
stantly increasing demand for those who can execute it creditably. You will therefore do well to acquire it. It 
is within the reach of perseverance and talent. It is more rapid than lettering, and frequently more fitting. Noth¬ 
ing is more suitable for resolution and important state papers. 

Fhe forms given are such as are used by the best engrossers in the world. As will be seen, they are unlike 
ordinary light-line script forms, and must be executed on an entirely different basis or plan. The freedom and 
lightness of movement usually employed in ordinary writing cannot be used to advantage here. Instead, a move¬ 
ment that is more firm and sure is needed. The little finger should serve as the chief center of control. The first 
and second fingers must act some, but not much nor exclusively. Too much finger action will make it tiresome, as 
will too much arm movement make it unmanageable. Use mainly the hand and forearm. Raise the pen often; 
as often as indicated. These plates were prepared for the purpose of revealing rather than concealing pen liftings 
and joinings. For that reason they appear broken and unfinished, but they tell the truths of execution. Study 
the forms closely. See that down strokes are slanted, shaded and spaced uniformlv. Notice how the shades in¬ 
crease and diminish at the tops and bottoms of letters, and how delicately the shaded strokes bend as they near 
the line to assist in making a rounding curve. The c, e, 0 and a all begin alike, and the oval part of the a is 
the same as the 0, 

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■it/t/t //(//■) t/tt /tt/t/t ,)//,),) r tr 
.,')////(■)■)/.) fffttt ttttt/t /////tr't-i. 


Practice the forms herewith in the order given. In the first three lines aim to secure uniformity in width of 
stroke, slant and spacing. Upper and lower turns should be the same in rotundity. Raise the pen every time at 
the base line. Learn to raise the pen often and to replace it skillfull}". Retouch the ends of the heavy strokes if 
you wish them as square as in the copy. Much engrossing is not retouched, however. 

Use pencil head and base lines for small letters. Study carefully the shapes of letters and how the shades 
increase and diminish at the tops and bottoms of letters. Make small loop stroke of e downward. Learn to 
make the letters large at first and then gradually reduce them in size until they are as small as desired. Be 
content to make them slowly at first and then increase the speed, if that is required. 

Notice the fact that there is no connective slant as in the semi-angular forms, but that up strokes are on the 
same slant as the down strokes. The tendency with beginners is to slant the s and oval part of the a too much. 
The tendency is to slant the up or connecting strokes too much, especially between such letters as u and tt, etc. 

Do not become discouraged if you fail to secure as smooth lines at first as desired. Be patient as well as 
persevering and painstaking. Remember that ink, paper, pens and holders are important factors in quality of 
line. Of course, skill of hand is all important. And skill in this sense means not only propelling and controlling 
power, but it also includes touch or the quality of pressure necessary for smoothness and strength. 


3 



/////'•> ///a///tr'/.j. /tr///t ouftA. 


Your greatest difficulty will be to secure uniform slant and spacing, and smooth lines. Constant, persevering 
practice will overcome the first. Careful, analyzing study will reveal that spacings are a trifle wider between 
letters than in them, and that some are wdder than others. When i is joined to n there is a long compound curve 
which should not be made to extend diagonally (obliquely) across the intervening space, but it should go up on 
the main slant, and not on the connective, as in ordinary script. When n follows o, the tendency is to make the 
spacing too wide. Aim to so space that a considerable distance all shaded lines will appear equally distant, but 
near at hand each letter will be distinct. Words must be spaced more widely than letters. 

To secure smoothness, you must hold the pen properly and have a holder that is adjusted scientifically. 
Besides you must learn to make each stroke with a quick, snap-like action. Not quite spasmodic, but quickly 
enough to secure strength and smoothness. This will come by practice. But it is better to have well proportioned 
forms that are slightly rough than poorly proportioned forms that are smooth. 

Learn to depend largely upon the little finger rest as a means of control. Let it serve as the chief center of ac¬ 
tion, around which the various movements act. Let the movement be slow and sure at this stage of progress at 
least. True, in long lines and many short ones, the movement comes from the elbow and above, but.it is restricted 
to a large degree by the hand rest. You must not let your prejudice against “finger movement” prevent you from 
using it in this kind of writing. If the fingers were not intended for action they would have no joints. 

Raise the pen every time you come to the base line, as indicated bv the littie openings. Endeavor to secure 
round, full turns at the top and bottom of letters by making the up strokes on the same slant as the down strokes, 
and by turning to the right before you come to the base line. Make both sides of the loop downward, the heavy 
side first. 

It takes a good, strong, firm action of the fingers, hand and forearm to produce smooth, heavy, long shades, 
quite unlike that used in light-jine writing. At the same time a certain quickness and elasticity of action may be 
cultivated and utilized to advantage in this kind of work. Experiment. Do good work in your own way, learn¬ 
ing as .much as possible from this and other sources. 


4 




The line of beauty, the compound curve, forms a very considerable part in these forms. And to be a real 
line of beauty it must be delicately curved, smoothly shaded, and swelled well near the center. You will see, also, 
that the heaviest part of the shade is at half the height. Some of the light line ovals will be difficult to execute 
without showing nervous kinks. But kinks are better than reckless, meaningless scrawls. Secure an artistic effect, 
it matters but little whether you use the fingers or the arm. See that your heavy strokes are uniformly shaded, 
spaced and slanted; that your lines are graceful and smooth; and that your spacing between letters and words are 
proportioned so as to be distinct but not detached. 

Master the exercise at the top of the accompanying plate before proceeding to practice the letters. It is an 
important exercise because it contains the strokes used in so many letters. Raise the pen at the top or bottom, as 
you prefer. 

Do not waste time and effort by attempting to make these letters as quickly as in the ordinary ornamental 
hand. “Slow but sure” is the best rule to follow here. Draw the forms rather than write them. Use the fingers 
and hand most. Let the hand rest securely upon the side of the little finger, which should slip but slightly. 

The round, full ovals will be found quite difficult, but careful, painstaking study and practice will win. Raise 
the pen whenever you can do so to advantage. 

Remember that your forms may slant more or less than the ones here given—that is a matter of individual 
preference. The turns may be more rounding or less rounding, etc., but to begin with it will be well to learn to 
copy the forms given and to slant more rather than less. 

Don’t be in a hurry, but be in earnest. Be careful, be observant, be persevering. If shades are rough on one 
side, your holder or paper is not adjusted properly. The latter should be held much the same as it writing—the 
bottom of the paper at about an angle of 20 degrees with that of the edge of the desk. 


5 



U/t lit (I,) run/te ur/j rn m 


ft /ra /imd; 


tt/t fait to f/ie ef&tn en f) ry 




No other style of writing is so widely admired by educated people as Roundhand. No other style is more 
easily learned. And no other style is so well suited to the engrossing of resolutions, diplomas, valuable documents, 
etc. If you wish to do fine art engrossing you cannot afford to ignore or neglect this appropriate style of writing. 
It is more rapid than lettering, and often times more beautiful and fitting. 

This style of writing attained a very high degree of perfection in beauty and skill in the seventeenth century. 
During the first half of the last century it was superseded by our light line, semi-commercial hand. But the 
latter proved too weak for true ornament and too difficult for practical purposes, so today, the tendency is 
toward something simple, easy and rapid for business, and something truly ornamental and substantial for art. 

Roundhand is easily read when framed and hung upon the wall (wdiile our light-line systems of writing are 
not) it is graceful and artistic; and it is not so uncertain in execution. It is not rapid, but fine arts (for their 
decorative and graceful qualities) are not judged so much by their quickness as by their quality. Beauty is the 
chief essential. 

The regularly spaced heavy down strokes contain an element of repetition and rhythm w’hich are character¬ 
istic of music, decorative art, etc. It is well, therefore to see that the spacing is approximately even, neither very 
wide nor narrow, and that the shades are about the same in thickness. Turns should be rounding and graceful, 
angles should be tangential, and ovals full and graceful. 

Study these essentials more and you will need to practice less. Good, clear, definite, tangible concepts are the 
secrets of superiority in this art, the same as in painting, sculpture, music, etc. The hand soon learns to do any¬ 
thing that the mind clearly perceives and the will dictates. 


6 






7 





8 




- r /Y/yy', 


yyyy/yyy yy 


y/'y^yy/yy yy 


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yyyy yyy 


■y 


^ yy/Yyyyyy/ 


Y 


Yyyyyyy/yy/yy/y 

_ /yyy yyy/yyy/ 
•.y / y//y 


■ YYyy/yyy/yYyYyyy 

Y fYyyyy/j/y yy yy 


y 


y 


r 


/ / yyyy 


s/j 

yy yyyy/yyyy 


y. 





y 


yyyy/yyyy 
Yy' 

• yyyyyy/yyyyy 



- /yyyyyy.yyyy' 

y. 


■ //yyyy /yyyy//yyy /Yyy yyyy/yyy yy 

' Yyy/////. 


yyyy/yyyyy.y 



// 

yyyyyyyyyyy 


yy/y/ 
'//,yj, yyyy Y/y 


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/ X 


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This remarkable specimen of engrossing script is from the pen of Mr. W. A. Baird, Brooklyn. Mr. Baird writes it quite 
freely—much faster than the accuracy of the product would indicate. The spacing is wonderfully rhythmical and pleasing. 





yy.y yy. sX yyy///' /////> 


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Z/'Z//y ZZZ 

x/ // / 

■Sr////?////'// : . / /, 



yyyy/^yyyy /// / //yy/ yy ///A; Z//Z/y r syy yy 


7 



./yZ/yyy ////// y^/yy/y //yyy yy / ’//:/ > //VyZy/. 

^/yyyy y yy V'/// /yyy/y y y/ yy/Z/// yyyy / //y^//yyy/yyy y 
'y/yy:y yY>Z//r . XX/./////,/./ 6 y/yyyyy/y y' yy/yy 


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yy / // / /////, 


yyy 


v yyyZy yy:y/yy/yy //yy /yyy y yYyy yy / r// y.y y yyy 



f y///' / / y/'/y vr. r /y y.y / w'// 

y/ 

/y.y yyy //:, yy/Zy 

yy/yyj/yyy/yy. //yyyy Zy.y/y/yy Z/' Yy/yyyCy/Z^/y ' /X /yyy 
y y y/ /y// ///y yy//./ yy y yy y y / y y yy ///////y y/y /y/yy 

r //// ///yy/ a y/Z/// // /.//' yyy/y/yy/ 

yy /yyy/// yy yy/ J, 

7 /y / > 

yyyy/ /.. 7/ 

ZyZ/7 ////Zy y y r//yyy/ 



yy y/yyyy < y yy yy 


yy 


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yy/'/y 


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r/? /> /? 

yyyyyyyyy,y 



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erf?/' yyyyyyyyy, 


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YYYY'Y/Y YYY/ 


(Oy/Y/Y YY/YY'Y 



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yyyyyyyyy 


yy/j'vyi •y^y/yJyyyyJJ ^y y/yyyyy/yy ' /yyyyy/j/yy/yzyyy//'/ 



/Ye 





Yy^YYY 




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Y YYY Y YY Y/ 'YY YY^YY/YYY YYYY/Y /YYYY 

4 /) e /? /? Y 

YY/Y yY Y/yYYY/yYYYY YYY YYY YYY’// /y//y/y/YYY/YY ///yYY.YYYYY Y/J 





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11 



Reproduced from The Penman's Repositary, by William Milnes. member of St. Mary’s Hall, Oxford, and Master of the City Commercial School, 

London. Published 1775 by J. Walker and engraved by Ashby. 

Js/y^ ) r 



yy/uy yyyjy'/ \,/yj r^tsYrss'^/(/SYtJy/t-&iYSsJ^y ts/s'setes-rdf 
4 Yr^yJsssnsz^// yj/y y/ys/y,// yy/ysy/sYs y y//v:J, yj/sy yy svy/yY'^ 
yyyyy//yyyyyyyy'yy y /yy yy//yyyy/yyyyy //isy <= 


yYY/YYYyY// . 




YY . - /? y s / ( Y ) yYYY, ' / Jy) y? 

^/YYY/yY/Y/jyYn^y//YYj , j//Y/ YYy/yYYYy/y. 



'YYYYJY'YYYYYY ' 




YYY/ YYYYYYY' YY//yY YY'YYY// 


Y'/YYJ YYY 


'YYYYY'Z Y//YYY'' YYYj, 



Oyyyyyyyyyyj/yy// , 'ys/Yt 

,Yrj^Y^' / xzsssyi/ r YYYnsY/^xss^iw . y/yy y/y// O 












This specimen of old-time script was originally written by G. Brooks about 1735 and was reproduced in the Universal 
Penman by G Bickham of England. The strength, the boldness, and the balance of the heading are in perfect accord with 
the spirit of the article The unique effect of the body by being executed in capitals is quite pleasing because it is quite differ¬ 
ent from what we are accustomed to see. Modern penmen have nothing on G. Brooks when it comes to ingenious combinations. 

f 


13 













































FREE STYLE ROUNDHAND 



The capitals in the three pages following were made offhand with the arm movement, some with the elbow 
raised from the desk and some with it resting. The aim is to secure forms that are at once symmetrical, grace- 
frl, artistic and spirited. 

The small letters must be executed with deliberation and retouched with care. The fingers and hand are 
employed principally in the small letters, the little finger serving as the center of control. Raise the pen often 
in the small letters, usually after every downward stroke. 

This style of script is attractive, but too uncertain for engrossing purposes. The capitals being made off¬ 
hand, the risk regarding pen breaking, flipping of ink, etc., is too great to employ them on elaborate specimens of 
engrossing. But where dash and grace are desired, this style is desirable. If you are a fine light-line penman, 
or are a skilled engrosser, this style will be easily acquired. 

The capitals are the very essence of that kind of skill which comprises accuracy and boldness. It cannot be 

secured in a day, nor for the asking, but only by intelligent practice and perseverance. 

The pen should be fine and flexible, and the holder should be oblique. Some of the flourished strokes were 

made with a straight holder held as in flourishing. 

Writing of this character requires more or less retouching. And as it takes skill as well as judgment and 
patience to do this, you will do well to learn to do it well. By so doing you will learn the secret of converting 
failures into successes. 


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arnrne 



15 












16 








MONOGRAM LETTERS 


The two styles of accompanying letters are especially adapted to compact, ornate, intricate monograms. The 
first alphabet partakes of the characteristic of script forms and is particularly suited to penmen, and the second 
resembles print and is serviceable to the engraver and designer. 

The first depends to a large degree upon contrast, smoothness, grace and harmony for its ornateness, and 
the second is dependent upon vine-like curvature, symmetry, scolloped shades and symmetry for its beauty. The 
parallelism and crossing-at-right-angles of line is much the same in both styles. 

The first style reads from left to right to better advantage than the second, but the latter groups more com¬ 
pactly than the former. The weaving, overlapping, crossing principal is much the same in both and should be 
seriously considered, as it is arrangement, curvature and symmetery of the stroke and letter that counts, rather 
than the smoothness of the line. This is true of the first, but doubly true of the second. 

Space values are well worth considering. By that is meant that there shall be neither large, open, barren, 
blank, unoccupied spaces, nor small, crowded, jungled, cramped, dense, congested spaces. Then, too, variety of 
curve, shade, ornament and shape is desirable. Too much of one shading, quality of line, and character of orna¬ 
ment is apt to prove monotonous. For this reason the second style, particularly where the shades and ornaments 
are not all black, as in X, Y and Z, and S H, is more artistic, though less skillful than the first. 

To make these letters, first sketch them simply, plainly, boldly with pencil, paying special attention to gen¬ 
eral shape, symmetery and plainness rather than to detail, ornament and fineness. As you proceed, these latter 
qualities may be considered and added. Make sure of legibility, and then ornament all you please. As far as 
possible, let the monogram read from left to right, but this is not always consistent with the highest type of beauty. 

Do much head work in proportion to hand w'ork. There is too much invention connected with the weaving of 
these forms in an artistic manner to admit of grinding them out at the rate of so many per minute. Beauty is the 
chief consideration, and mood, talent and experience contribute to it. 



17 









ITALIC ROUNDHAND 


This alphabet is a compromise between Roman and script. It is intensely legible, yet on account of its curves 
and light and heavy lines, it is quite artistic. It requires no small amount of skill to execute. Use an oblique 
holder and a fine, flexible pen. Make tb" forms first much like the second small a and then retouch the ends and 
add the corners with a fine pen and straight holder. Do this after the ink has dried from the first writing. Two 
or more styles of most forms are given. Use the ones you prefer. Study relationship of styles. For instance: 
the second a does not belong with first b nor with the second /. The first b does not belong with the third style 
of B, nor with the second or third C. The last Z properly goes with the last R, the last H, and the third G. 
Unless you learn to observe these things your work will necessarily lack that unity and taste so necessary in 
excellence. 

Some one has very wisely said “Trifles make perfec ion, but perfection is no trifle.” Little things in lettering 
are as important, if not more important, than in anything else. Much care must be exercised in retouching this 
kind of lettering and unless you have more than average skill, you need not expect to make much of a success 
of this graceful, plain, effective alphabet. 

Spacing in and between letters must be carefully considered. General effect is desired rather than that the 
letters be just so far apart. All minimum letters must hit the head and base lines to secure a uniform effect. Try 
to get the compound curve strokes the same heft as other strokes. 

StalicJtound/icmd. 

a abb C(/de/fgr t (fit b ij/I: 

A ftm mn // oppqqucsttu 

avia 'if ini v.[ f/t/z J234S 

- 6 778 DO - 

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- Modern P/jPP) - 

AB CBBFGNIJK 
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By C. W. Norder. 





PRACTICAL MARKING ALPHABET 


This is an old favorite style of lettering or “Marking Text” used by penmen who are skilled in the use of a fine, flexible pen such 
as the Zanerian Fine Writer or Gillott's No. 1 . 

It is rapid, effective, and comparatively easy. Its strokes are very similar in construction, uniform in slant, most art compound 
curves, and all are shaded near the center. 

The paper should be held straight with the desk and the holder pointing above the elbow. 

Practice upon the principles at the bottom of the plate first, then upon the small letters, next upon the capitals, and last upon the 
figures, as they are the most difficult. 

Use a steady, sure, combined finger and arm movement, letting the hand rest and slide upon the side. 

Practice the compound curve until you can curve it symmetrically and shade it artistically with the heaviest part in center. Increase 
and diminish the shades gradually. 

Be patient, ambitious, observant, persevering, careful, and critical and you will learn to letter beautifully as well as practically. 



INSTRUCTIONS 

This alphabet, in variously modified forms, has long been used by architects and mechanical draftsmen. 

It is a modification of script and Italic and is easier than either, and therefore well suited to many people and many uses. 

Use fine, faint pencil head and base lines as shown in the copy to secure uniform height of short (minimum) and tall (extended) letters 

For practice upon writing paper, divide the space between the blue lines into three equal spaces, and rule pencil lines as suggested b’ 
the dotted lines. 

Use a coarse, smooth-pointed pen so as to secure uniformly heavy up and down strokes. Watch slant to keep it uniform. Endeavor t< 
secure regular spacing between strokes and between letters. 

Practice the capitals first. As a rule, make the left side and bottom strokes, then the top and right side strokes. 

Many of the small letters may be made without raising the pen, on the order of script forms. Raise the pen whenever it seems bes 
to do so. 

Use a slow, sure motion, letting the hand rest on the side. The paper may be held much as in writing. 

Repeat one letter over and over until you can show improvement and do it well. Then practice small simple words. And then try t 
use the lettering in some of your other lesson work for titles, headings, etc. 


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ABCDFFCHUKIMNOPORFTUVUKW&PAPITAF FORMS 


























































LIGHT-LINE GOTHIC 


We have here two light or hair-line Gothic or Egyptian alphabets, which are very popular among draftsmen, 
architects, etc. The first may be made entirely by rule but the second should be made free hand. It is best to use 
head and base pencil guide lines, but to depend upon the eye for spacing and the hand for execution. If abso¬ 
lute accuracy and mechanical effect are desired, then the first alphabet and the ruling pen and straight edge are 
best. The forms may be modified, not only in slanting them forward or backward much or little, but by making 
them 1ow t and wide, tall and narrow, large or small, light or heavy. 

Use a straight holder and smooth or round pointed pen and India ink. A glass pen or a stick sharpened with 
a groove or grooves running up from the point to retain the ink are not bad. If made just right, the latter is excel¬ 
lent. Watch the spacing closely between letters as well as the relative height and width of the letters. 

The ability to do simple, plain, rapid lettering is no mean accomplishment, and is much more easily and 
quickly acquired than writing. Then, too, it is almost a necessity in nearly all lines of modern business, as there is 
so much labeling, tabulating, marking, etc., to be done. And the one who can do it has the advantage of the one 
who cannot, in securing and holding a position. 

Light-line lettering is very beautiful and appropriate for many purposes. Its simplicity and strength make 
it very appropriate for such work as given on pages 107, 108, 109. 


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MATERIALS AND POSITION FOR TEXT LETTERING 


Any good writing ink will do for practice, but it will not answer for actual engrossing. You need an ink 
with enough body to it to produce a deep black or brilliant letter, but not glossy. Arnold’s Japan will do. India 
ink is better—in fact there is nothing as good. India ink, if diluted with about four parts water to one of ink, 
with a little gum arabic added, is good. But pure India is best of all. Zanerian brand leads. 

Use Broad pointed lettering pens; usually No. i for practice. Keep it moist to the neck, but do not dip much 
ink at a time. New pens do not act well until the oil is worked off. Press both nibs of the pen on the paper 
evenly and firmly, but not heavily enough to cause them to spread much. Wiggle or work the pen slightly as 
you place it on the paper preparatory to starting a stroke, in order to secure uniform flow of ink from the start. 
Pens, if used well, will last a long time. 

It is advisable to first learn to letter without an ink retainer (a small device attached to pen to hold a quan¬ 
tity of ink) in order to learn how to dip ink properly, for success in making clear, smooth lines depends upon the 
abilitv to dip ink sparingly and uniformly. An ink retainer will help you to do more lettering in a day, and 
should be used after you acquire considerable skill. Keep a wet sponge at hand with which to clean your pen 
and retainer. Avoid getting the retainer too tight on to the pen. 

Good, firm, smooth-surfaced, white paper is desirable. Well trained, obedient muscles and keen, critical, per¬ 
ceiving eyes are indispensable. A blotter or similar piece of paper should be kept beneath the hands. An open 
inkwell should be kept near by, so that ink-dipping is in sight. The dipping of ink is too frequently done in a 
careless manner. Ink should be dipped sparingly and with great care. It is much more difficult to dip ink for 
lettering than for writing. 

Hold the pen as illustrated. Use combined movement. Roll hand to right and rest 
on little finger and palm on side of hand. Work deliberately until you can work well 
and rapidly. Use a text-lettering straight pen holder, and hold same at an angle of 
about 6o° as shown in illustration to right It may point outward from the elbow, 
so that the nibs are both evenly on the paper. Hold the paper about straight 

with the desk; it may be turned slightly as in 
writing. Keep the point of the pen at an 
angle of 45 0 as shown in illustration at the left. 

Hold pen at same angle for nearly all strokes. 

The right point of the pen is a little shorter 
than the left, which necessitates throwing holder 
from the usual shoulder position. Be sure you 
understand about position before going farther. 

The movement should be firm and deliberate and come chiefly from the forearm. 
The fingers and hand must serve as the chief mediums of control. Cultivate sureness 
rather than speed—the latter will develop as rapidly as you familiarize yourself with 
the work, and as you become confident. Remember that the hand will learn with but 
little difficulty to do whatever the eye perceives and the mind dictates. If you can see 
letters clearly in all of their details and general proportions, the hand will soon learn to express what has been 
perceived and invented. 

Use head and base lines in the beginning. The best engrosers use them for their very best work. You will 
have much to watch besides the head line. When you can letter good with head lines you are ready to learn to 
work without them for rough work, such as filling cheap diplomas, etc. At that stage you will have mastered 
many of the little things which at first took your attention. You can therefore concentrate upon alignment. Get 
the work uniform at the head line and be careful to hit the base line and not to run through it. 

A few vertical guide lines are permissable if you have trouble to maintain uniform slant. 





H.C.RICE 























































BROAD PEN BLOCK 

This Broad-Pen Block or Egyptian Text, as it is sometimes called, is an excellent one to practice to train the 
eye to precision in concept and the hand to mechanical exactness. 

The spacing should be the same between the strokes in the letters as between the letters. 

Great care must be exercised to keep the angle of the point of the pen at forty-five degrees at all times or the 
vertical and horizontal strokes will not be the same in width. And unless all vertical and horizontal strokes are the 
same in thickness, the effect will not be pleasing. 

The beveled corners in some of the capitals are made by going over them a third time, but it is not necessary to 
twist or change the angle of the pen in so doing. 

The left and lower strokes or sides of the letters are usually made first, and then the top and right sides are 
made 

It will take considerable practice to train the eye to perceive and the hand to exactness in the execution of 
straight lines, regularly spaced, uniformly vertical, and well proportioned. 

Sharp, square-cut beginnings and endings are desirable, therefore exactness in detail is necessary. 

Pencil head and base lines for both capitals and small letters may be used, and if much difficulty is experienced 
in securing uniform slant and spacing, vertical pencil space lines may also be used to school both eye and hand to 
accuracy. 

India ink, Soennecken pens, firm paper are necessary for the best work. 

Much care, patience, firmness, sureness, and skill are necessary to execute this alphabet, but its mastery makes 
all other text alphabets easy and excellent. 

Little or no retouching with a common pen is necessary or should be indulged in. 


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23 









ECLECTIC TEXT 


This is a complete alphabet, having been made up of the principles of a number of standard forms. Study 
carefully the proportion and shape of letters, as well as the spacing in and between letters. 

Use a broad-pointed pen, and hold it more nearly vertical than in writing. Keep the edge of the point at 
an angle of forty-five degrees throughout the work. 

Dip ink sparingly, carefully and frequently. Watch spacing. Use a head and base line for the small let¬ 
ters which may be erased after lettering is complete. Make the left side of letters first and then the right side. 
Study carefully the turns at the top and bottom of letters. 

Use a slow, firm, sure, combined movement in executing this kind of lettering. Speed is not so essential as 
accuracy. The little finger and right side of palm of hand should rest firmly upon the paper. 

Uniformity in height, width, spacing and thickness of stroke is essential. 

Be patient, observant and careful and you will win a good hand at lettering. 





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24 



































AMERICAN ALPHABET 


This alphabet is the outgrowth of a demand for something that the people not trained in lettering can read 
without much effort. The forms are plain, clear-cut and graceful. This alphabet is used quite extensively in 
America by engrossers and penmen in lettering diplomas, resolutions, etc., in which it is especially suited to body 
work. The capitals are sometimes made more ornamental, as the judgement or taste of the engrosser dictates. 
There are times when a simple letter does not look as well as one more elaborate. 

Rule head and base lines for short letters one-half inch apart, and for capitals about seven-eighths inch apart. 

Keep the space in letters the same as between letters. Use the eye to judge spacing. Keep the letters fairly 

close together so that the lettering looks solid and stands out more than the background. 

Give special attention to curved strokes. Unless you can make them clear-cut and graceful, your work will 
look weak. Keep the small letters h, m and n open at the bottom and small u, v, w and y open at the top for 
legibility. The top and bottom strokes should be on the same slant. Get sharp, clear beginning and ending 
strokes. Too much ink on your pen will not produce sharp, smooth lines. Dip often and use waterproof ink. Do 
not merely copy the forms, but commit them to memory so that you will have a good mental picture of them 
at all times. 

Do not patch this alphabet with a fine pen, but finish it as you go with the broad pen. You will find it a 
very speedy and beautiful alphabet. 

The modern engrosser must be competent to do many things well, and resourceful in order to remove all 
obstacles that seem to stand in the way of a paying order. 

























































Following are three varieties of the Old English Text 
alphabet. No other letter is used so extensively, and no 
other is so artistic and enduring. You will do well to 
master it. 

The alphabet below was made with a broad pen. It 
is a style used in filling diplomas, etc., and should not be 
retouched with a fine pen except where you make a 
serious mistake. Speed is very necessary in this alphabet. 

The alphabet at top of page 27 was made with the broad pen and then retouched with a common writing pen. 
The straight lines were all ruled up using a fine pen, and all inaccuracies were corrected. This takes consider¬ 
able time, but for first-class engrossing it pays. 

The letters at bottom of page 27 were first drawn in outline with a sharp, hard pencil, then outlined in ink 
with a common pen, and then filled in with a coarse, smooth pen or with a brush. Letters made in this manner 
cannot be equaled with a broad pen, but while they are prettiest they are also by far the slowest in execution. 
Heading are often prepared in this manner. 

Uniform spacing and slant are the two chief essentials. Use pencil head and base lines for minimum 
letters. 

Study the joinings, corners and parts of letters. See how often certain various strokes are repeated in the 
different letters. The first stroke in the first a is repeated in c, d, e, g , 0, q and s. The second stroke of a is 
repeated in slightly modified form in b, g, h, i, j, m, n, 0, p, q, u, v, <w and y. 

Study the principles underlying all shading. See and study pages 59 regarding this work. 

The “spurs” in Old English should be neither too small nor too large. Let them extend out about half the 
width of the pen, or one nib on the small letters. The spurs in the center of the capitals should be rather large 
and circular with sharp hair-line beginnings. 

The head and base strokes should slant in the same direction. Lettering should be solid and not scattered. 
Get as much space between letters as in letters. 



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28 


























































Old English is the engrosser’s most useful style and we would advise that the correct form of each letter be 
memorized. While a standard form is observed, no two penmen will make these letters exactly alike. Their 
lettering, like their writing, is bound to show certain markings of character and taste. 

This alphabet will make a good one for study and reference, as it was gotten up with quite careful attention 
to details of form and finish. Beginners will find it an excellent plan to draw these letters in pencil, with great 
care and critical study—continuing to change the form here and there until accuracy is finally acquired. Take 
up each letter in this manner and you will be surprised how thoroughly the form of each letter will in this 
way become fixed in the mind. 

The copy was first written with a No. i lettering pen. The edges were afterwards ruled. All the strokes 
were connected, corners pointed and inaccuracies corrected with a common pen. 

Remember that spacing is of the utmost importance and it must receive as much attention as the form of the 
letters. A great deal of our work is for reproduction by the various engraving processes, hence, coarseness or 
blackness of line is necessary for printable plates. However, much of our work is on memorial resolutions for 
framing or in book form, and this class of work is finer, more delicate, and more pleasing. Brush and color 
effects, and pale India ink script give a mellowness and an artistic quality very much desired on nice resolu¬ 
tion work. I 

The line “Old English” shows an effective treatment for the sake of variety. The letters were first care¬ 
fully drawn in pencil, and then outlined. The tinting was done free hand and the flourished strokes were added 
with a quick offhand movement. See that the strokes are well balanced and the shading harmoniously arranged. 

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MEDIEVAL AND CHURCH TEXTS 


The forms herewith given are of the old style. They are made to conform to the possibilities of the broad 
pen. They are not given as faithful representations of sixteenth century forms, but as twentieth century forms, 
retaining the characteristics of the former. We have endeavored to eliminate the poor qualities and to retain the 
good ones. We do not believe in negro slavery, nor in white slavery, nor in the slavery of opinions to the past. 

We h ave no use for lettering that is no better than that used two, one, or three centuries ago. 

The ability to letter legibly, rapidly, and artistically is worth considerable. To many it is worth a living, 
to some it means a fortune. It is worth your while to acquire the art, as there is work of this nature to do in all 
localities. Filling the name in diplomas or making them, engrossing resolutions testimonials and memorials 
and marking artistic show cards has grown to such an extent that many find it profitable to do nothing else. Hence 

the need for such instruction as this is aimed to be. 


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UP-TO-DATE ITALIC BROAD-PEN ROMAN 

Unmistakeably plain in reading qualities and simple, easy and rapid in execution are the characteristics of 

the alphabet herewith given. It has no special history with which to court favor, nor does it aspire to an envi¬ 
able place in the fine arts as a “thing of beauty and a joy forever.” Instead, it comes as a thing of service in 

the busy world of commerce. Its mission is to serve those who are unskilled in execution as well as in reading 

text alphabets. It may be used to no small extent in plain engrossing, in diplomas and in certificates, policies, 
records, etc. Its chief function is for label marking, package addressing, and window announcements. As such 
it will prove fitting and practical. 

The slant may be more or less, as individuals may prefer. The size may be varied by the employment of 
large or small pens. The proportion may be varied by making the letters tall and slender (narrow), or by 
making them low and extended (wide and round). 

The paper may be held much as in writing, as may also the pen; the latter may, however, be held more nearly 
vertical. The pen or paper need not be changed in making any letter except in such strokes as Z, L, etc. 


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ENGROSSING TEXTS 

The forms herewith are general favorites with engrossers. Slant and curve are its characteristics. These 
alphabets may be made quite small by using a narrow pen, and by using a good writing ink the effect is very 
dainty and pleasing. 

While these alphabets are artistic, even ornamental, and pleasing to the eye, they are not difficult to read, 
and that is why they are so universally used. They are pretty, rapid and easy to read; three valuable qual¬ 
ities to possess. 

In the second alphabet, the ink and pen must be in fine condition to secure faint, fine up-strokes. Study the 
forms closely and critically before attempting practice. Be sure you know just what you wish to produce. Be 
certain you know the shape of the letters well; the peculiar kind of turns necessary to give a distinctive char¬ 
acter to each alphabet. 






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34 











FRENCH ROUND WRITING 

By C. W. Norder. 


These letters partake largely of the ordinary freehand shaded script. While it looks quite speedy, it is, 
in reality, but little swifter in execution than the usual style of lettering. The small letters have comparatively 
short turns, while the capitals are quite the reverse. One thing, the alphabet is very legible, and on account of 
its light-line connective qualities, it is quite pleasing. 

The ruling should be about three-eighths inch in height for a No. i pen, and the loops should be double the 
height of the short letters. The up strokes should be on a uniform slant. 

The spacing in this styl,e is usually wide, but it can be regulated by the adjustment of the angle of the pen. 

If wide spacing is desired, hold the point of the pen at an angle of 45 0 ; if narrow spacing is wanted, hold it at 
an angle of 6o°. 

The loops must not be made with one stroke, as might be inferred from the copy. Instead, make all shaded 
strokes downward and all light lines upward. Raise the pen as often as it seems necessary, oftener than you 
would think from looking at the forms given. The tendency is to make the forms too high and the capitals not 
rounding and full enough. 

The usual styles of ornament can be used in connection with these letters. If you have some natural ability 
and a little originality you will soon learn to modify these forms to suit the circumstances for which you are 
intending them. They will admit of many modifications, both in construction and finish. In fact, there is no 
limit to invention and to improvement in these lines. But it is not all to be original. Original work should be 
good just as well as if it were old. Because it is original does not signify that it is equal or superior to the old. 

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ITALIAN SQUARE TOP 


This alphabet, like the "Broad-pen Block” is square and positive, but unlike it, it is not very legible. It is 
made up of opposites, of light and broad lines. Like some people, it is very precise and proper. 

There is less objection to ruling the paper both horizontally and perpendicularly than heretofore. The pen 
must be changed to suit the stroke, but in nearly all the forms and strokes the point of the pen is held at an 
angle of 90°, or at right angles to the base line. 

The spacing, like in the “Block” alphabet, is very regular. Nearly all the down-strokes should be a quarter 
of an inch apart, or whatever standard you adopt. Remember that the proportion here given is not the only one. 
It is the usual or the standard. For many purposes it is best to space more widely, and for many others much 
closer. In fact these letters can be doubled in height without increasing the width, to good advantage. 

If your ink or pen does not work well in producing the light strokes, or if you wish your work unusually ac¬ 
curate, it will be well to make the hair lines with a common pen. If you make them in this manner it will be 
necessary to use slant and space guide lines. 

As will be seen by the Z, this alphabet can be made to be quite legible and ornamental by the proper use 
of ornament. The little round ornament seems to break the straightness or severeness of the form, and the outlin¬ 
ing with the shading back of it helps to strengthen the weaker parts. The shading in the three words is modified 
by drawing the lines in the several directions to illustrate three different methods. One is just as good as an¬ 
other, and but one should be used at a time. Study carefully the construction of the shades. All must be outlined 
in pencil before the shading can be done. Shading should be done, at this stage of the work at least, freehand, 
without the aid of a ruler. 


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36 





























































ITALIAN 


We have here one of the most ornamental, delicate and difficult of the broad-pen alphabets. The peculiar 
blending of curves and straight lines is not common. The contrasts between the shades and the light lines is quite 
as strong as in the previous alphabet, though less severe. 

The spacing, like the “Square Top’’ or “Block,” is regular. In fact, one can follow quarter inch slant and 
space lines quite conveniently, for the spacing between the forms should be the same as in the forms. 

Some of the curved light lines found in figures be made with a common pen. The peculiar junction of lines in 
the tops and bottoms of these letters, especially in such as A, will require skill and care. The long, light lines will 
necessitate holding the point of the pen exactly perpendicular and running it precisely edgeways. But good ink, 
pens and paper, and steady nerve and temper, will secure the desired results. 

As will be seen, the addition of the little square in the letters in the word Ornamental makes it much more at¬ 
tractive. It adds strength and decision, and should be made with a size smaller pen that that used in lettering. 
The finish of the Z in this alphabet is a good one because it enlarges the body of the letter and makes it much 
more readable. 

For ordinary engrossing, the shade can be put on with the same size pen that was used in making the letters 
by the use of pale ink, or more properly speaking, with water color. To do this shading, one must turn the paper 
one-fourth of the way round to the left from that used in lettering. Then, holding the pen as in lettering, and 
beginning at the end farthest from the body, you shade the sides and bottoms of the letters, and work gradually 
toward the body. Use water proof ink in lettering for this kind of shading. 














































EGYPTIAN 


Rule head and base lines and sketch the letters in free hand with hard-pointed pencil. Space and slant lines, 

and horizontal sub-head and base lines may be used, but it is better to deny one’s self those aids at first, if not 

for all time. Nothing is so good as a well trained eye, and the rule robs one of this training. Use India ink, good 
pens, drawing board and T square. The latter to rule head and base lines quickly and parallel. 

The Egyptian, Gothic, or Block letters serve as a type or foundation for about one-third of the lettering we 
see. The characteristics are simplicity, strength, plainness and boldness. The strokes or parts of letters are equal¬ 
ly heavy and it is this quality of equality of width of stroke that makes these letters substantial, firm and uniform. 

The letters in alphabetic order are about the standard proportion in height, width and breadth of stroke. 

The word Egyptian presents a condensed or contracted modification, while the word Block illustrates an extended 
or widened modification of the same letter. These letters are modified not only by making them taller or nar¬ 
rower and wider or lower, but also by making the strokes more slender or wider. 

The B, C, D, etc., may be made with bevel or round corners and the finish may be made to suit the pur¬ 
pose of the individual. A good illustration as to adapt-ability is shown in the Snow-capped, or Frigid alphabet 
following, which is, as regards history or character, as much Egyptian as the first alphabet herewith given. 
It could be made to represent heat as well as cold, hard or soft, rough or smooth, light or heavy substances as 
well as snow and ice. To do this requires ability along the line of drawing and representing natural forms. 
The first alphabet suggests many ways of ornamenting or finishing the letters, there are no limits to variation. 

After considering the proportionate height and width of letters, spacing between letters comes next in import¬ 
ance. The base of A and B need to be closer together than B and C. I and the lower part of J need to come 
nearer than J and K. Study these things. Suit letters to their purposes and fit them to the spaces they are in¬ 
tended to fill. See 59. 



38 

































































































































SIXTEENTH CENTVRY. 

ABCDEFGHIJKLMNO 

PQRSTUVWXYZ ROMAN • 



39 

































































































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ROMAN 

This alphabet embodies to a greater degree than any other the qualities of perfect legibility, delicacy, strength, 
and beauty. It is all of these because of its contrasting light and heavy, straight and curved lines. It is because of 
these qualities that it is universally used in printing. It is difficult and slow in execution or it would be used instead 
of script in writing. 

“It’s as old as the hills,” yet as new and fresh and attractive as ever. There are many modifications of it—as 
many as there are artists who make it—but it is always easily recognized as the “Old Reliable - —the “Noblest 
Roman of them all.” 

Study the proportion and shape of letters as well as the spacing between them. There are no rules that you can 
employ in spacing except that the letters appear neither too close nor too wide. A well trained eye is the best guide. 
Some portions of letters nearly touch, as in A B, while B C do not come so near together at any one place, yet the 
relative space between the two is about the same. 

Sketch the letters with pencil, using head and base pencil lines, then outline them with pen, and fill in with pen 
or brii’Sh. Learn to do it well without rule or straight-edge. Sometimes it is best and quickest to use rule, but you 
must be able to do it both ways. 

This alphabet may be made tall and narrow or low and wide. The secret of successful lettering is to suit the 
size and proportion of the letters to the space they are intended to occupy. 

You may ornament the letters to suit yourself. The letters are the most difficult part. They are difficult to per¬ 
ceive as well as to execute. 

Make sure that you shade the right strokes in A, M, N, U, V, W, X, and Y. The lower case Ismail) letters are 
more difficult and tedious than the upper case (capitals) and are not shaded quite as heavy. 


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MEDIAL 

The forms herewith come midway between the Roman and Egyptian alphabets; hence the name medial. These 
letters are not so solid as the Egyptian letters, nor as delicate as the Roman characters, but they are not devoid of 
merit. They are better suited to general designing than either of the others because they combine the elements of 
strength and beauty and admit of greater modification. 

Use head and base pencil lines and sketch the letters freely off-hand. Depend more and more upon the eye for 
seeing and the hand for doing, and upon the rule less. The eye and hand can learn to draw and space letters unaid¬ 
ed by the rule far better than by it. Mechanics need rules, artists seldom need them. 

Observation will disclose that the light lines are about one-third as wide as the heavy ones; that the inside of the 
curve is less curving than the outside; and that the letters are taller than wide. The short small letters are about 
two-thirds as tall as the tallest, which are the same in height as the capitals, but not quite as heavy. The small letters 
and figures will require close scrutiny and care in their construction. 

Spacing between letters must be considered with great care. General effect is what is desired rather than that 
the letters shall be just so far apart. Note in the word Standard how the top of the T extends over the S and A, and 
how much wider the space is between the letters N and D than between D and A. 

The words Standard Medial illustrate one of the innumerable methods of finishing these letters. 



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41 


































































MEDIEVAL 


These medieval forms are modern interpretations of those used about the tenth century. I hey are in many 
respects, Roman in character, though in many ways they differ widely from that letter. These forms are grace¬ 
ful to an unusual degree and serve splendidly where beauty and old-time conditions are desired. 

There is no one way of ornamenting these forms. The letters instead of the background could be tinted, or 
they could be made black faced and shaded, or merely outlined. Note the breadth and rotundity, and how well the 
letters balance. Symmetry is one of the chief characteristics. 

In putting in a tint, such as in the accompanying alphabet, think more of uniform spacing than of straight¬ 
ness of stroke, or preciseness of joinings. It is the graytone that is desired rather than precise lines. If you 
think of straightness and joinings you are apt to neglect spacing. Generality in tone is the thing desired. For 
such tinting, use a firm pen (303 Gillott or Crow Quill) and use an oblique holder, drawing the lines toward you. 




42 





























































































































































































































































































































































































































































































































































































































































BLOCK 

Here you have the mechanical, the substantial, the elaborate in lettering. If you want to represent the solid, 
the permanent, the plain, or the elaborate, use this alphabet. See how regular, how uniform its parts are. How 
easily it could be constructed of little squares or cubes fastened together. How appropriate, therefore, the name. 

The ruling can be done as suggested by dotted lines. It is very easy to sketch the forms by the aid of these 
squares. Spacing can be regulated more mechanically in this alphabet than in any form. Of course this ruling is 
not best for learning—for training the eye, but it is the quickest way to get perfect forms; perfect in length, width, 
and spacing. 

See how elaborate that U appears. How much larger it seems than the others, yet it was no larger before the 
ornament was added. The & was first outlined; then irregular pebble outlines were drawn within and blacked be¬ 
tween them; then they were tinted and shaded to produce the proper relief. This style could be outlined and shaded 
as in S. 

The word Block was outlined as in the first line. Then shadowed with a black line to represent a beveled or 
raised edge. Then tinted, and shadowed with a coarse pen. The word Ornament was first outlined with pencil; 
then the black shade was drawn; next the dark, narrow shade; and then the wide shade. The stripes were added 
last. The pencil lines were then erased. 

As will be seen, the outline is suggested by the end stripes. By counting you will find twelve different styles of 
letters on this page, and these styles represent but a few of what are possible. Can you not invent others equally as 
good or better ? Try as hard as the author did on the ones herewith and perhaps you can beat them. 



43 




































































































































































































































Jnz Played 


AESTHETIC 


How opposite this alphabet is from the preceding one! Here we have the opposite of the mechanical, the 
free and unrestrained. At first glance there appears to be nothing but disorder, chance and craziness, but in 
reality there is order, system, study, harmony, and uniformity expressed. As the name suggests, it appeals to one’s 
higher nature, a nature not measured by rule nor tested by mathematics. It requires a well trained eye to reg¬ 
ulate the spacing and curve the lines in such manner as to add to its neighbors. It requires but little ability to 
copy these forms, but it does take study to arrange them into words where the relationship of letters is changed. 
The same forms will not do then. As will be seen, the JE in the word at the bottom of the plate is vastly dif¬ 
ferent (especially the E) from the ones in the alphabet. So, also, are the small letters different. It is this 
peculiar relationship of letters under different conditions that makes this alphabet particularly difficult. And un¬ 
less you are somewhat original it will be well not to attempt this style of lettering. If you are persevering, 
painstaking, and studious, there is much to learn right here. No other style of lettering calls into play the use 
of the eye and the reasoning and originating faculties as much as this. Not only must the letters be properly 
spaced and the lines properly curved and harmonized, but the shades must be placed where they will produce 
the most pleasing effect. Under almost any other circumstances the K, L and M, would have to be modified con¬ 
siderably; also the R and S. T he same would be true of O, P and O, and U. V, IF and X. 

Do you wonder now where the order, the orginality, and the study comes in? 



44 





























ORNATE MEDIAL 


This alphabet offers a lesson in drawing as well as in lettering. To be able to grade the tinting from black 
to white without making abrupt changes requires clear perception and skillful execution. It is the diagonal divid¬ 
ing line that requires careful handling. As will be seen, the lines are not very smooth nor straight. The rea¬ 
son is this: If we had thought of smoothness and straightness of line it is likely that we would have failed in 
uniform and gradual gradation from black to white and white to black. On the other hand, if gradation was 
the chief requisite (and it was), to secure it we found it necessary to use the voluntary force of mind to secure 
such result, and to allow reflex action to attend to the execution of detail strokes. And not having mind es¬ 
pecially upon quality of line, they were accordingly somewhat rough. 

But it is that slight roughness which reveals quickness and ease in execution and clearness in perception. 
The longer you work at this line of art, the more fully you will realize that effect is worth more than fineness, 
proportion more than detail and symmetry more than smoothness. 

Sketch these letters plainly at first, then add the ornaments. Do not outline the forms in ink; simply use the 
pencil outline to guide you in the tinting. This alphabet can be outlined, shaded, and shadowed on the same plan 
that nearly all others have been. This peculiar tinting is given to illustrate how nearly all the forms could be 
executed, and all the other styles of finish and construction are given to show this Ornate Medial could be 
worked. Thus you see that no one finish belongs to any one alphabet, nor no one style of letter to any one style 
of ornament. 




Drawing by E. A. Oliver, Philadelphia, Pa. 
45 














































































































































































































SINGLE-LINE CENTER, OR SICKLES ALPHABET 


This alphabet is used very extensively wherever compactness and display are desired. It is quite plain though 
not as plain as the Roman, Egyptian and Medial letters. It occupies the maximum space possible, covering as it 
does, almost the entire surface of the paper where the letters occur. The spacing is about as mechanical as spac¬ 
ing can be, the strokes in all the letters being the same in width and nearly all are perpendicular. It is easily 
and quickly made because of the fewness and sameness of the strokes, and because it is generally used in outline 
form with a broad, simple shadow- beneath. It is capable of infinite variation and admits of no small amount of 
ornament and decoration. It usually presents a massive, compact, simple appearance, and shows to best ad¬ 
vantage when placed upon a graceful compound curve. 

It is used extensiely by engrossers because it enables them with pen and brush combined to secure the 
maximum effect with the minimum labor and time. And this is an essential quality, particularly in this material 
age. 




46 



















































































































































































































HEAVY BODY 


We have here, if anywhere, the novel, grotesque and extreme in lettering. When we first saw such letters 
as this on show bills, posters and the like, we thought them quite crazy and almost indecent, if letters could be so. 
But time, the panacea for all ills, has eradicated the first impressions. They now look amusing rather than grot¬ 
esque, restful rather than shocking. 

Usually there is less regularity than w r e have deemed best to produce, but as models, we though it better to 
have some system to our madness, as many no doubt think it. The first alphabet is heavier than the second be¬ 
cause there is but one heavy stroke in each letter, whereas in the second there are usually two. 

There is no limit to variety in this class of letters. Each succeeding year the show bills announce several new 
crops of letters, a number of which owe their existence to these forms. You may not, at first, recognize the in¬ 
heritance, but it is usually there, and not so distant as that of Adam, either. 

Where the letters are blacked in solid they need a shadow, as in the last line, to break their force and 
strength. The H and / in the next to the last line are good examples of finish, being as they are, neither flat nor 
violent in construction and contrast. The Z’s in the first alphabet also offer good hints for ornament and develop¬ 
ment. 

For commercial advertising and in the line of novelties, these letters can be utilized nicely. They are not 
serious in their tone, nor artistic, therefore, are not suited to memorial engrossing nor elegant illustrating. On 
the principle that it takes all kinds of people to make a world, so does it take all sorts of character to complete 
an outfit of letters. 



47 






















































































































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tabc tT 19 W ♦ 



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Xrhncjn>n OK. ills Corporation oJ* OCow^oj-J: Or. 
*I0lj >lomas aiu>Cncjros.sm<. j ~ cKcctsonablo rices . 


The outfit for the above work may consist of a few medium fine writing pens and broad pointed pens num¬ 
bers 2^ and 5, a bottle of waterproof ink, a medium soft pencil and paper or cardboard with a good surface. 

In pen drawing the values are obtained by thick and thin lines and stipple, similar to exercises given. 
Exercise number one shows the straight fine line which should be uniform in spacing and thickness. No. 2 shaded 
vertical lines. No. 4 should be made with the arm movement, exactly like writing. Crosshatched lines are 
shown in No. 5 and stippling in No. 11. Gradation of tone is obtained by thickening the lines and increasing 
size of dots. 

Practice on the exercises in the order given, using a finger movement on all excepting No. 4. The little 
sketch shows the application of lines and stipple to produce color values. “Technic” is a term referring to 
manner of using brush or pen in producing tone value. 

A pen drawing is first drawn in pencil in order to obtain correct shape, good proportion and balance. Color 

value may also be suggested. Note deep shadow under the boulder, indicated by shaded parallel lines and 

spots of solid black, also the high light on top of boulder. The distant trees must be simply suggested. 

This is a very useful letter for engrossers, being most suitable for body of resolutions and diploma filling. 

Use a No. 2p2 pen and practice on the exercises until some skill is acquired, then follow with the alphabet. Study 

the form and proportions of each letter with critical care. Rule lines to govern height of letters as follow's: 
One-half of an inch apart for capitals, and one-quarter for small letters. The correct form must be thoroughly 
impressed upon the mind, therefore critical study and careful practice must go along hand in hand. 

•48 
























































































































































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Pen technic is far more difficult than brush or pencil, but it can be mastered by critical study and practice. 
The blossoms and leaves in design for this lesson are an excellent study in color values, and the spray with 
slight changes can be adapted for many purposes. 1 he same design can also be finished very effectively in 
brush and color. 

The original drawing measures 11x15 inches. First make a very rapid sketch of the spray of blossoms 
omitting detail entirely. This is the way to obtain balance and good action. A detail drawing should follow 
with color values suggested. 

Always use India ink for all kinds of pen drawing. Very pleasing effects are obtained by thinning the ink 
with water for the most delicate tones, but we do not recommend this method as weak, brownish lines will not 
reproduce satisfactorily. 

Nearly all the lining was done with a Gillott No. 170 pen. The darkest tones, however, were obtained 
with a No. 5 lettering pen. Note the lines used for the different tones and aim for close imitation. Shaded lines 
and spots of solid black should be used wherever darkest shadows occur. When you add the darkest tones your 
design will take on strength and character. 

Lettering —This is a very practical broad pen letter for general marking—a style of letter that is easy to 
master and one that is easy to read. 

Rule lines to regulate height only. Use a No. 5 broad pen, and aim for regular size and spacing. No re¬ 
touching necessary. The heading, "Decorative Drawing and Lettering” shows the same style of letter finished 
with a fine pen. 


49 



























si: II "lit ■III II Alt W, I't 'K I it IV I 'It 



TOIL AND TALENT TRIUMPH 


The symbolic design herewith offers a splendid example of tinting wherein soft gray, striking contrasts, and 
luminous effects are produced, Note closely how the lines are barely connected, and how one line is made to take 
the place of two when grading from dark to light. 

In tinting of this type, it is well to work from dark to light, and therefore the design should he turned around 
when putting the tint behind the light letters in the lower right corner of the design. 

The egg and dart historical, decorative border was first outlined carefully with pencil and then drawn bv tinting. 

An oblique holder is a good instrument for such delicate shading. The original drawing is about three times as 
large as the reproduction herewith. 

Regular spacing depends upon a well trained eye as well as upon a skilled hand. Both are capable of develop¬ 
ment and improvement through practice. 



PATRIOTIC ALPHABET 


Variety is not only the spice of life, but of lettering as well. Appropriateness is very essential in this as in 
all things. When dealing with something purely American, especially relating to Uncle Sam’s affairs, the alpha¬ 
bet herewith given, with its numerous modifications, fills a niche heretofore unoccupied. 

The shield, which is the emblem of protection for human liberty, as employed by the United States, is used 
as a foundation for these letters. In dealing, therefore, with subjects of a patriotic nature, this alphabet is 
appropriate and refreshing. 

It is an alphabet that can be used to advantage only in the way of headings and initials, and for the lat¬ 
ter, it is excellent. 

To make them, outline the letter carefully and completely, suggesting the stars and stripes, with pencil. Then 
proceed to inking with undiluted ink. Use common straight holders and pens of good quality—fine or coarse as 
desired. 

The forms of the letters may be varied as well as the treatment, so that there is no end to variety in this 
alphabet as in all others. 

While it is attractive and effective as herewith given, it is doubly effective when produced in red, white 
and blue, with brush or pen. 


50 

































































































































































































































































































































































































































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serpent aut> sttugetlj lifie an abbex. 



54 























































































































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58 










SHADING 


The first line represents what is generally termed shading. It represents the side and bottom of a letter as 
well as the face of it. It is simple if you once get the principle clearly in mind. To produce it, the first thing 
to do is to draw pencil guide lines from the corners of the letters at an angle of 45 0 . Then outline with pen¬ 
cil the shape of the shade, keeping the general contour of the shade the same as the outline of the letter next the 
shade. The space between the letter and the shade should be wide where the shade is wide and narrow where 
the shade is narrow. Verical and horizontal lines cast the same width shade, while those running in the 
direction of the left side of an A cast the widest, and those running in the opposite direction the narrowest shade. 

Line two illustrates the principles of what we term a flat shadow. A little study reveals that this shadow is 
an exact counterpart of the letter and a little removed to the right and below the letter. This is the easiest to 
understand and to master. 

Line three illustrates a shadow in perspective and is the most difficult to make. Some dotted diagrams are 
given to show the mechanical construction of shadows, but as a rule they are sketched freehand, and can thus 
usually be made accurate enough for artistic and practical purposes. 

The last line reveals how “easy” it is to make letters by merely suggesting their shadow edges. To get 
the suggestion correct, it is necessary to sketch in pencil the whole letter, and then to outline in ink only the 
right and lower side of each part. 

Study, measure, test, draw, and experiment and you will soon see the secret of shading, shadowing or 
blocking letters. Then you will wonder why others, also, cannot see it plainly. 

For ordinary quick engrossing, shading is usually done with diluted ink or water color with a broad pen or 
brush. To do this, turn the left side of the paper towards the body and start shading on the right side of the 
paper, on the last letter, working towards the left side. The pen should be held in same position as in ordinary 
broad-pen lettering. You must understand the principles of shading before you can hope to shade in this free 
hand manner. 








rHEN TINT OR BL7\CK THE SAME. DOTS REPRESENT PENCIL LINES. THE OBLIQUE LINES 



59 
































































































PROPORTION AND MODIFICATION 


Unless you can suit your letters to the space they ought to occupy, your work will be but partially successful. 
Keep in mind that the alphabets given represent the type form or average proportion. The Roman characters 
are not always based upon a square (as was the alphabet) but instead are sometimes extended (made wider) 
as in the word “Letters,” and sometimes it is contracted (made narrow) as in “the part of all who would suc¬ 
ceed.” 

The Medial letters are sometimes changed and shaped to suit conditions as illustrated in the second line from 
the top. See how narrow and close the letters are. The word “Study” is not only made wider than the standard 
Roman but it is somewhat modified. Such changes are not only allowable, but commendable. See if you cannot 
do as well. 

The central line is based on the Egyptian forms. The characters are modernized and contracted not a little. 
“Is Necessary On” is a very modern type of form, somewhat related to the last line, which is a modification of 
what we have elsewhere termed the Heavy Body. The letters have been spaced and proportioned as to best 
fill the space alloted to them and to express the meaning most forcibly. 

The work given was done in about a day, designing and all. Do not understand that beginners should do 
it in that time. There is a vast difference between the rapidity at which a beginner and professional should 
work. In tinting behind the central line, think more of evenness of tint, as produced by equally distant lines, 
than straightness and smoothness of line. If you think too much of straightness, you will forget about uni¬ 
formity of spacing, and thereby fail in securing flatness, which, in this case, is desired. 



60 



































































































































































































































APPLIED LETTERING 


Here is a composite plate of fifteen alphabets, the object of which is to show' how lettering may be applied 
to design. Keep in mind that it is not good taste to use two styles in one line, as in “Modern Ornament,” but 
it is here given to illustrate the application of as many styles as possible within a limited space. 

See how' the word “Modifications” is made to stand out by the introduction of a pebble background. But 
notice how unobtrusive the background is: you see the letters rather than the background. And that is right, your 
backgrounds must not be conspicuous, they should be subordinate to the forms you wish to express. Study how 
quickly this same groundwork vanishes about the word as soon as it has served its purpose, that of accenting 
the word. 

The panel about the words “Modern Ornament” is more conspicuous, which it has a right to be, as it occupies 
the post of honor. However, its outline is rather plain and severe. Note the fact that while the lines in the shad¬ 
ing of the words vary in direction, the effect produced is quite the same. But one style at a time should ordi¬ 
narily be used. Note what a change in the O the outlining of it produces. 

‘‘Embellishment, Decoration, Title-pages and Memorials” offer suggestions in treatment and background 
not so common as many others. The sketchy, free, light and airy treatment is to be encouraged. There is no 
reason why it cannot be employed more advantageously than it has been in the past. See what you can make out 
of it. 

After studying the principal features of this design, see if you cannot write an advertisement of some school 
or book and embody the strong points in large, bold and conspicuous letters, and the other ideas in such style 
letters and ornament as to properly express the idea desired. If you succeed, be surprised; if you fail, be 
studious and persevering until you know why. 

Each design should be composed of one style of letter rather than many as here given merely for practice. 



61 





















































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tK^kinspire more con.fi&ence,i5 



RAPID PRACTICAL 
LETTERS 

Herewith is some practical lettering 
for show cards, price cards, etc. Study 
character of letters critically. First rule 
lines to govern height, then pencil each 
letter for spacing only. Use a No. 3 let¬ 
tering pen and India ink. Never use 
common inks for lettering. Connect the 
strokes and correct inaccuracies with a 
fine pointed pen. The lower case letters 
follow the word “Success” and were writ¬ 
ten with a No. 5 pen. 

The initial “R” and spray of roses and 
leaves shows a strong and rather effec¬ 
tive line treatment of values. It will be 
observed that the color values are treated 
in short, parallel lines varied in thickness 
for the light and dark tones. No cross- 
hatched lines in this specimen. The 
roses are in a lighter tone than the 
leaves, obtained by very fine lines thick¬ 
ened where the edges of the leaves are 
turned. Make leaves directly under the 
roses very dark in tone for contrast and 
relief. This spray of roses may be effec¬ 
tively treated in wash, and would make 
a very nice design for word “Resolved” 
on engrossed resolution. 

Remember that the greatest success 
comes to those who remain students 
through life; those who are willing to 
brush aside pecuniary gain to make way 
for artistic excellence. 









































































































DIPLOMA FILLING STYLES 


Herewith are given a number of styles suitable for filling in 
diplomas. The style should be suited to the diploma and to the 
amount the purchaser desires or can afford to pay. If the price 
is rather low (from twenty-five down to ten cents each), then the 
plain lettering with little or no flourishing, or the shaded writing 
can be given. To do good, careful, artistic, well-spaced work re¬ 
quires time, skill and patience, and deserves liberal reward. 
The American and Old English styles look well without flourish¬ 
ing. We rarely ever use flourishes (unless called for) from the 
fact that most diplomas do not have sufficient room for proper em¬ 
bellishment. The common fault is too many lines and too manv 
fillings and filigree to enhance the symmetry of the letters them¬ 
selves. l ight line shading as in the last line is good. Diluted 
ink with a broad pen is frequently used. 

If one will do enough lettering and study spacing, he can 
in time became fairly accurate in judging how much space a name 
or word will occupy. 

Beginners will find it a good plan to rule a light, sharp pencil head line, then indicate lightly with pen¬ 
cil, between the head and base lines, where the letters are to be placed. In time the head lines should be 
omitted in the cheaper class of work. 

Another plan is to put the pencil marks suggesting the spacing on the blotter and not on the paper. The 
name on the blotter can be centered and placed up close to the line upon which you intend to work. In this 
way you can see how much space will be required and avoid getting pencil marks on the paper. This saves 
erasing and insures good spacing. The pencil marks do not have to be put in carefully, except for space values. 
As soon as you can, do aw r ay with all head lines, except on parchment. 

It will be well to rub with a piece of sponge rubber, powdered pumice stone, or stale bread over the space 
to be lettered or written to remove the oil on parchment which prevents the ink from flowing freely. 

The style and size of lettering and roundhand used in filling the name and date should be in harmony 

with the rest of the diploma. When the name is short, make your lettering wide and low, as in the second line; 

and where the name is real long, make the lettering high and compact. 

Speed should be developed after you have thoroughly memorized the styles of letters, but not before. En¬ 
grossers are able to fill from ioo to 300 or more diplomas a day according to the amount of work on each one 

and the quality of work desired. 





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Jlrlu? epoO gMzurel ius' let him. remn.or hk?ob 
j£ike ^oeratar, that man 15 aivahmi»c2>. 



64 















































































65 















































































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mirli luimnli'fnji' flora notpro&urr ijmtt turaltlt, 
but nrratuiralth hors mil airii om* fat to runtont-^ 

. mraprrtoblr orrupation to Jlti* befit.most 

limit} a man ran hnor 


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66 


























































































importance ofa fBusmes**' / 

Situation to jouwj men ofeurcourrhy 
cannot Be overestimated. o/ke ordinary college education j$ 
oPareat value, But it is not to Be compared m practical fmpor* 
tancetoike training ofpoumj men aoko kaveto make mem 
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r-Owr^ ftocKU>rv& Mdtr\e.»*i 



67 




















































6S 



















































» JUD6fr ^5 
A TREE BV ITS FRUlT;d~| 
A SCHOOL BY' ITS C 



This exquisite bit of engrossing in words is a eulogy on Commerce, but in form it is a eulogy on the art of the pen. En¬ 
grossers of today cannot excel the hantio y, the grace, and the symmetry of this specimen. Instead there is hardly an en¬ 
grossing artist of today who cannot get some valuable lessons in design, in lettering, in symmetry, and in grace from it. It 
was published in the Universal Penman by G. Bickham in 1738, the work itself being the product of N. Dove. 


(9 

































RESOLUTIONS 


The style, ornament and elaborateness of a resolution depends to a great extent upon the price a customer 

desires to pay. Always give full value, but when the amount paid is small it would be foolish to give an 

elaborate piece of work. 

Prices vary greatly in different localities and with different engrossers. The great majority of resolutions 
are gotten out for from $10.00 to $30.00, using lettering for headings and script for the body. Where higher 
prices are paid, more ornament is used, such as initial letters, borders, etc., as well as illumination. Some find 
a cheap class of resolutions nets them a good income, for a $5.00 to $10.00 resolution can be gotten out in a 
few hours by using unretouched lettering and script which is not so exact in detail but good in general appear¬ 
ance. 

After deciding upon the size of paper you wish to use, get the center and outside margin lines or limit 
border for the pen work. Next write or letter a line of the body on scrap paper the same size and length as 
you intend to make the work on the resolution. By so doing you can determine how many lines of script or let¬ 
tering the material you intend to engross will make. The heading should come next. If compound curved head¬ 
ing is desired proceed as illustrated in the lay-out on the next page. 

With a string (which will not stretch) or a compass, make the center curve of the heading (in which 
General Assembly is lettered), then draw the two long horizontal straight lines just below the center curve, 
letting the top straight line touch the bottom curved line. These straight lines (which are the same distance 
apart as the curved lines) serve as guide lines for sketching in free hand the short ending curves of the arched 
curve. 

Always rule vertical guide lines for lettering on curves as shown by dotted vertical lines in the lay-out. 

Lettering on curves in resolutions should never be slanted toward the center of the design, as printers are com¬ 

pelled to do. Sometimes lettering on simple curves is slanted forward to advantage. 

After getting the heading outlined, and knowing how many lines and subheadings will be needed, you can 
easily plan the body. The lines in the last paragraph can be put closer together or wider as desired to make the 
resolution fill the space. The space left for signatures and subheadings can be widened or narrowed as desired. 
Subheadings can be put in the center on a line by themselves or to the left, followed by body material. In this 
way space can be saved or covered as desired. 

After you have lettered in headings and written or lettered the body, retouch and add shading, flourishing, 
underscores, and ornament to help out the design where needed. A $10.00 piece of work can frequently be made 
to look like a $20.00 one, by adding a little embellishment. Unless you learn to be resourceful, you will have 
to do many pieces of work over. 

Where a word is mispelled it can easily be corrected by erasing with an ordinary pencil eraser. Seldom 
use a sand eraser on good work for it leaves the surface so rough that it is dangerous to work over it with¬ 
out spoiling the job. The rough places can be smoothed somewhat by scraping off the fuzz with a sharp knife 

and rubbing the surface of the paper with the handle. Use a sponge eraser in cleaning lines and finger prints 
from your work. 



70 










.. 



71 


















































































































































■c 


(Scranton Association 

°) (2)crai^ 01 7 a > 

_ Rcfb in their room$Jf ane l^rfi^JO, 

Re,^lfomm(j resolution? more ananhiiousfyaboptob: 

9 $ 


o 



«.;\i'llii' t ulli'i ?niilli. 

-u'icto if our late memfoir- 

(ifiarlcs ah.cnralli, 

u>ko succoobob Rim as a member ojpour Hssodahom, , 
passcb amay on the ^-th. insh; morojore be ito 

- ixI'IHlIm'll. - 


uJitat the Jpffoumiy minute. Re enfereb 011 our rccorbs anb a cop 

-sent to me Hereaeeb jamily,--3-— 

4fhe loss, toithjn the poriob of a year, of first; the fathen 
anb the heao cf the family, anb seconb [Re mother, u>Ro bravely took 
up anb earneb successfulfyjbrmarb [Re business of the office, is a mourn¬ 
ful jach unprocobenteb in Hie history <£our Association, anb cal Is jorrfu 

our deepest ^umpalfaf. 


dDfie fortitube anb courage ivith mfticR "N(rs.-Smith took, 
up her luorfanb so spfcnbibjy carrfeb it Jarman) oommartbs oar kicrResto 
admiration, whilst' we sorrow [Rah its Rurben proveb too Heavy, anb nab 
so soon to be faib asibe. mourn our foss me revere her memory 

ani comment licr fiorolc example,. - 

5iQj-(ifcllC0cL r 9resi[)om, ff. iDlUf ll r ekeretary. 


By P. W. Costello, Scranton, Pa. 

















CVS 


of HicJlorthilmcricmt fflrgontjatioti of rhe 



at Jfltacaffjj- imtcHigor 

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73 
























































74 































































(' rf/s/zt/v/'j. 

— iUJ^a*C05; f — 

Since the adjournment of the 15 rd General -R5»cmhl^ 

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'YYYy 



SPLATTER WORK 


First, design and draw in pencil outline the shield, including strips, on cardboard. Second, cut it out care¬ 
fully with a sharp, pointed knife. Cut out only the blue field and red stripes. Preserve the large pattern. 

Third, use the pattern to secure an outline the same size and shape on another sheet of paper. Fourth, out¬ 
line in pencil head and base lines for all wording. Fifth, letter the heading, including the words Senate Cham¬ 
ber, write Columbus, 0 ., letter or write the lines following until the whole has been engrossed. Sixth, erase 
pencil lines and clean the whole. Seventh, shade the lettering with a broad pen, using watered ink or inky water, 
turning the paper part way round from the position it occupied while lettering it. Eighth, flourish about the 
letters. Ninth, lay the pattern over the engrossing, and with a tooth brush saturated with diluted ink (from 
sponge cup may do) brush it rapidly back and forth over a window screen held horizontally a few inches above 
the design. This will cause ink to fall in a gentle mist, creating a soft, gray tint, more beautiful than it appears 
after it has been engraved. Remove the pattern and you will have white stripes and margin, the pattern 
having protected those parts. 

The original of the accompanying design was 15x20 inches, allowing 5 inches margin. The shield alone 
being 10x15 inches. Stars may be created by cutting them out of bits of paper and laying them about over the 
upper part of the design—above and below the heading. 


75 







WASH DRAWING BY E. L. BROWN 

Provide yourself with brushes, trays for mixing color, 2 or 3 -ply 
cardboard, waterproof ink, coarse and line pens, ordinary or parallel ruler, 
and you will be ready to make a beginning. The cardboard should have a 
dull finish to take the color well. Whatman’s papers are excellent. 

When it comes to brushes we say that a poor brush is mighty mean. The 
variety and grades of brushes is large, and prices range from 35 c up. 

Winsor & Newton’s brown water color sable brushes are quite satisfactory, 

No. 3 size costs 55 c each. For practice purposes use Payne’s gray and 
lamp black. There is a knack in handling color that can only be acquired 
by practice. It is our endeavor to start the beginner with the simplest 
designs and lead him step by step to the most elaborate engrossing. 

One of the faults of the beginner is to use too little color in the brush, and his work has muddy, spotted 
appearance. He is “afraid of the color,” as artists say, and his painting lacks breadth and transparency. After 
mixing the color with the brush well filled with color proceed to wash the surface of the square, beginning at the 
top and working downward as shown by Fig. i. Tilt the drawing just a little and the color will have a ten¬ 
dency to run downward. Keep a puddle of color on the edge and carry same along over the space. I he re¬ 
sult should be like that shown in Fig. 2. In Fig. 3, the clouded effect is obtained by placing some color in the 
square and blending same off with another brush filled with pure water. Fig 4 shows three separate washes. 
Begin with tone marked one and wash over entire space, and when this wash is perfectly dry wash in No. 2 and 
3 in the same manner. Fig. 5 is made up of simple washes. Study it carefully, and keep your washes clean and 
transparent. Use a free brush, so called, in other words a brush well filled with color. 

Persistent efforts after repeated failures will win success. Remember the word, go on—what others have 
done you can do. 



Make your copy of this lesson at least twice as large as the cut, and be sure to pencil the form and propor¬ 
tions with care. The battle is more than half won when a good drawing is obtained. Next mix your color, two 
quantities, one with a little more body than the other, and with some of the pale color in a clean pen, out¬ 
line the leaves and roses. When this is done erase all pencil lines and proceed with the washes. Keep your tones 
clean and transparent, especially in the shadows. Leave the white paper for the highest lights as far as pos¬ 
sible. Chinese white is also used for high lights. Figure 1 shows the effect after the first washes, and Figure 
2 the complete design. For similar designs turn to pages 78, 80, 94, 95 and 100. 



76 













































I he drawing and development of the vase is presented for your attention. The most important thing in the 
development of a design after the drawing in outline is obtained, is the halftones. These should he clean and 
transparent and of the proper depth of color, in other words not too dark. 

Figure No. t shows the effect of the first wash, and Figure 2 and 3 the final washes. Use strong color in 
the darkest values and blend off to the lighter tones with a brush slightly moistened with clean water. Don’t 
be afraid of your color, fill brush well with color and work quickly toward the lighter parts of the design, then 
let the washed surface dry completely before applying other washes. 

*'G./ ___ /y C - A 


This copy shows a good arrangement of color values. First make a pencil outline of the lettering, then 
trace in waterproof ink. Make your copy at least twice as large as the cut. After the ink is added erase all 
pencil lines with a soft rubber. Outline the shading with a hard pencil. The white bevel on the left and top 

of letters should be uniform in width. Beginners should use guide lines whenever the tones must be uniform in 

width, as such lines lessen the problems to content with in obtaining clean, uniform and transparent values. In 
adding the background put color on where darkest values occur and blend off to the white paper. 

Always see that your brush is well filled with color, and work quickly to attain the best results. Turn to 

page 90 for further instruction. 



77 
































mm 



r f 

ftm 

iLSjf 

w& 



, / r 




!T 





jb 


‘•• 3 £ 




e>END For_ 

Estimates 

# 

.. > v . i 




R Jtudio > ? 




5 headquarters torhujk epaV 

oosnms, ]H’u or\s*a$k ^ntWiiur, 

lorJLd to i\KcaMit(t5, C a ta l o if 

. ♦ £/ 

Covers, etc. 

cKesolutious anV DlCgmorktly 
eiujivsscfc aub ilkiminatcb. 
DIPLOMAS, chtoek anVspecial 
ocsnjns to .salt all tastes ano 
lor all requu'ements. 
Hov/ard -ScBrow'n, 

Rockland, Maine.. 


78 

















































79 



























ALBUM ENGROSSING 

Album engrossing is a survival of the days when books were lettered and illuminated by hand. Before the 
discovery and invention of the printing press and printing, all books were written or lettered by hand, and 

some of them were so beautifully and elaborately and skillfully executed that they still remain the envy and 

despair of engrossers. 

Printing has resulted in a monotonous style of books, the covers being the most distinguishing features. It 
is here where album engrossing has a distinct advantage and opportunity. Each one being done by hand, and 

rarely ever duplicated, it is possible, therefore, to make each one a distinct product. 

In order that this may be made practicable, it is advisable to employ some one style of letter in one album 
and some other style in the next album. It is not so easy to make each one distinct when many styles of letter¬ 
ing are used in each. In architecture, in house decoration and furnishings, in clothing, etc., the best always con¬ 
sists of some dominent idea, style or tone. 

Simplicity lasts longer than elaborateness. It is alw'ays safest, therefore, to avoid mixture of styles, such as 

Gothic and Roman or Old English and German Texts or Roundhand and Spencerian. Few engrossers do this 

but the tendency is in that direction and the coming engrossing product will be less conglomerate but more in 
accordance w'ith enduring taste than in the past. 

ALBUM OR FOR FRAMING? 

Frequently the question arises as to whether a resolution or memorial should be engrossed in album form 

or for framing. As a rule, w-hen it is to be given to an organization for a public office or hall, it is engrossed 

and framed. As a rule, when it is given by an organization to an individual, it is engrossed in album form. 
It can then be placed in the library, on the stand, or put into the grip or trunk and taken to show friends. 

The purpose usually determines the form, whether for framing or for binding. 

As a rule, album cases or covers are made of flexible leather not unlike bibles. They are made by highly 
skilled bookbinders or pocket-book manufacturers. The leaves are usually held in place by a small ribbon, but 
the more elaborate and expensive ones are bound like a book. 


The Madarasz Memorial Album here¬ 
with presented is well worth studying, 
even though some pages contain some 
features not quite harmonious. The last 
page appeals to us as the best of the five, 
because it has fewer varieties. 

“Script Writing” above “As a Pen¬ 
man,” in page three is rather weak, but 
doubtless it was used to present a script¬ 
like effect. 

The decorations on pages two and 
three are particularly appropriate, as 
they typify the profession in which he 
excelled. 


Engrossed by W. E. Dennis 


j'ivMnt'^lccduia ofl&c - 

O 



Ino to lYou'tna w<ts adopted ♦. 



n 


80 







































3 kcem&r 25 , t£)tO~ 
in the (Pit/ ofSan^ranctseo, 

our pi-ofcssion lost - 

mn’iifllinmistskillfiil 
^mumuiftln* anc. 



i 



5tc combined to a rnaiavl- 
w dc$rcc the elements of 
detkaeij, accuracy, epncc- 
fufucss and boldness in 

c>cti 


«» 






"Tr,r 


lie was able tlh*ou$fi 
ins penmanship sllifl’ 
to eiectrifij,to cncoui- 
aeje/to inspire to Incjli 
ejraclc execution as but 
few men ever have— 





with ttic 
m curuc. 
in contrast^m har- 
uioni) f ttiere% stirrina asptr 
ants to action arifrto excellence. 

Jin prafesstmtd ratkiunltiut hf rcaduis 
titf climax. 



hearted, courageous andvjet tmoerm 
Spirit, exclusive Sutconsiantin -nis 
aftccHcnis\mvitvinids6tps, ~as those 
tcsiifif \^f$> mourn his death.- 



Li: 


•SSl^S,^ GL^ES" 
g g: b S ar 


t IP III 



we extend our probundsijm- 
palluj tn tier sorrow and loss, 
aud\K fid tier to cherish tits 
ntemonf as a herilueje no onc- 
cisc can so tuftii appreciate as 
sire u>ho euje\Kd the closest re 
httionsto lits hearh_ 


81 


























































JtfrflJljpM'u*! Jftcdiitg 


<f no Cirerhinr m 



Hictollmuinn urns m'rii|itri): 


Wlicvca?, 

ft // / ////ft/'// ft///) ft// //y'Cft// ///y 
//ft'//ft/' /ft/ ft/J ftJc'////'/// ft// /// 
///// 


ft/ //// fty/ft/zftft/ft'// / ft/ft//c/ft 



///////// /y // /////// z/ftft/y 
//). )//.),)////// // /ft //'ft// ////,) /ft/ 
///ft/ // ///// :jft//zft/z / ft'//ft/ / ///ft// 

/ / // V 7 / / '/ / 

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ftft/ ft/JJs /ft //?///'/fz///ft //ftft 

ft / y 

ft/////:) /////ft/////ft//• z/ft/ cot/- 





S 




i>c ^prcao 


'i -~i 


|hah'mi$ resolution. b 
upon? the minifies'of-ourJ'lssoeia1'iou,publishei 
if: fhc herein Ion. papers anbacopy property cr 
arosscb, present K> ific J*an?i lij o|* Hie beocascb 


i 


's«aV\'|!|;|S|h:| wll;i =c. 

"ii fcir jiiri [imweiiwr 




~ss s c comment ffcm K> 3{in; 
■who bocHt ail ibincjs well. 

D 















































- 4 A Lr 




■-» ^ 


( 


v. 




r i he desire to express ant) re- [ ^ 
ypeort) in beautiful form the - , ; 
— “sentiments of mauluut) , 

has serve!) as the basic motive v / 
in!) eve loping tire art of_ 

(grossing* 


1 


CL he same forces that gavegraribf 
eur to architecture, form to sculps 
ture,ant) color to painting, gave r 
beauty to the art of penmanship, [) 
^ which,in elaborate form,we call 

Orna.rossm^. f 

(brace, t)aintine>5, s\nnmctrp, 

■> 5 trench, be auto, contrast, l 

^ W A color, lightan!>sl)at>e, [ J 
-' N ornament,etc„are ' jj " 


l* 



i / 

♦y 

- ^ \ 

l —\ 

t a —^ 


o w -CC-vT ■" 


GRAY CARDBOARD 


This design was made with brush and pen, principally the former, and black (India) and white (Chinese) 
ink on gray cardboard. The design was first drawn with pencil on a sheet of white paper and then transferred 
with tracing paper to the gray sheet. The two sides being the same shape, but one was drawn originally and 
then reversed. The lettering was done first with a broad pen in the usual manner. Then the shadows and dark 
tones in the design were put on with a brush. Then the white lines were put beneath the lettering, and the 
initial T was decorated. Then the sharp white edges (the high lights), which counterbalance the darks, were 
put on with a small pointed brush, the same as the darks (No. i Sable hair.) The white coating, w’hich gives 
it a marble-like effect, was laid on last with a larger brush. This coating w-as rather thin. You can successfully 
go over black with white, but not over white ink with black ink. The black ink was simply India ink thinned 
with water. 

This brush work at first appears difficult, but when one is once accustomed to handling the brush in water 
colors, it is simple, quick and effective. 

Knowledge of, and skill in drawing, is the secret of success in this class of engrossing. Learn to draw. 
Observe lights and shades. Study contrast. Investigate the laws of harmony, grace symmetry, etc. Be a student 
of the beautiful in nature and in art. 


83 




















J// //'////'/ 




'/s /y yv sy // 


vsff//y, rs// ss//,j/// s. 

' V / / '/ '/ / 

f s /////srs/s-'J ■ S/.j// 


//' s// 


SS//.J 


y ////'/, 


V ///////'/ 


V/ SS SeJ //Sf 




The accompanying illustration was first designed daintily with pencil on a sheet of white cardboard. The 
black shadow line between and below the letters of the heading was put in with a pen, as was also the shadow 
edge of is as old as history. Then the script was written. Then the shadow of the heading was laid on with 
a brush, first the heavy and then the light shade, with different solutions of water and India ink. The various 
tones of color are produced by having as many little dishes as different tones are desired. In one there may be 
water, in another ink, in another a drop or two of ink and a spoonful of water, and in another more ink and less 
water. With two or three small and medium sable hair brushes the liquid is applied to the design with consid¬ 
erable care until you are familiar with the management of the brush and water. 

The scrolls and brick must be suggested with pencil, then the light tone of color applied to the light por¬ 
tions and the dark to the darker portions. Put the dark on top of the light but not until the first is dry. Build 
up the darks gradually and be patient. Do not work over the lights with the expectation of going over them 
with white ink. 

Put in the bricks last. Suggest them wherever there are open places in the script. Put in the mortar lines 
first with a small, pointed brush, using dark color. Then wash in each brick with a broad, flat brush, bristle will 
do, leaving narrow space at the top and left of each brick so as to illustrate a beveled effect. 

The original of this illustration was about three times as long and three times as wide as here given. 


84 































































F 





c\\ kis> 


' CH IMS 

1 & ** I 

Ninetieth Birthday 

( ‘n f~ ■ ^ ^ 

^ ^^epknnkrr 30Jc)03 

4 


HIGH GRADE TITLE PAGE BY SAM’L D. HOLT, PHILADELPHIA, PA. 


To create the title page for an engrossed album presented herewith, first make a light pencil sketch of the 
entire design. Too many—especially beginners—place insufficient value upon the pencil sketch. It should be 
complete and very carefully done. If there is any one thing that should be impressed upon the learner of this 
course it is this, that the original draft should be perfect, so far as execution is concerned. After a letter is 
once inked in it is a difficult matter to make a change, but with a pencil line it is different, and frequently, after 
a design is completed, the importance of changes is noted. This would not be the case if the penciling process 
be correctly done. 

After the pencil work has been accomplished, the next step will be to put in the background, washing it in 
with Prussian blue and lamp black, mixed in water. For the initial T two shades of black were used—vermilion 

shaded with crimson lake. The background of the initial inside of the circle can be made of gold or aluminum. 

If gold be used it will be necessary to buy a brick, and put it on with the brush. Many who wish to raise the 
gold, giving it the impression of being thick, put a little Chinese white on first, and then cover that with the gold. 
In lettering the words, care must be taken in putting in the shadow. Of course there are many who cannot letter 

well and until one has practiced spacing and securing desired effects his work will not be pleasing to the 

eye. 

In practicing this design it might be well for the beginner, especially, to make his work about twice as large 
as shown here. There is a growing field for penman who wish to be something more than “Capital Connecters,” 
and the field lies in this line of work. Every city with a population of 3,000 or over should have its Engross¬ 
ing Artist. 




85 









^'llcrcas. TilL'PKKtNffi AQDRESV 


HIS 

Mnim, 


*1 





fe-* AT Wlfiro-BAKCK^URm «* 


occcit?ioii oj^ ll;c 35. AXM'AI' 60XVBTI0X ^W&* 

I f 


■w<. .->'-1 -w Li,kiLffiJU‘.'f ,-iW....' siiSSjSSAi!j!tSi'.'i<f i 



e hnpartei slmtqth anifflkaaj to the Cvubi d • 

'•aqkoul Hk' ku^V an& • . • * r 7 v *• V ' « * *• 

4i*nnr i_* .- •*•;•*- .V* '•••?* 

Ul illM, ‘i'hit- orejanuulion aims at ike develppmCKk of 
Iruc mankood, qood ciliicuskip and practical ckrishanikf'cviurc-. 
k.| cur Icllou'-citizens ma;| kc I'auqht to cujoq ike material klcss- 
s of a resourceful eounlhj. and to appreciate’ ike .spiritual aaV»- 
poral opportunities of a free and en 1 iq tilenet 1 cyo'oanmeal ; aneko- 

Ic^.flHtcdrinlc tsatnl-and1iquor traffic, 'ancontrofted In)' 
treason anotke spirit of sotfsacrifice,- arc- calculated lo oJfKtllsese-'-’S'wasstS’ 
paralleled flessinqs and golden opportunities amonq ourqiftcd and.favored 
llrerefdrc, ' * BE 


_ _ __JjB___ __ . >sc private fife __ j 

adorned will: ike jewels of flOHCciq. prof'lTij CUidlXltCntiUj.. ikan his puttie career ukounds inCOnsictCliCe). 

fidd'iuj and-lfic practice of all futidaii;ci;lufviriuo? : and be it 

OJA |^P !£dkat itislfe sense of , III is Cjpanisalion tliallkc dailq exercise of.ittesevi ikies fas 
^ 'won Jdr.him ike profound esteem and •urcswctvinq confidence of. It is fellou-cilitensah 
.and gained-ike universal admiration ofafl^ood people akroad; and kc if ^ ■ p. 

llCeH'M tjdkatlkisfappii comhiaafioa -opprov*i&criKal circumstance* *l?as, a* fe reward of merit 

. * * raised our President in ike eifes of Ike-wliolc civilized 'world, Ct,tJ)p)lJ4l)|eijro|' 

peace and prosperity atnona ali peoples and afl nations., and kc ikfirtlier 

@fas»%®4 jMaiueis andpalrMccilbciKof h5»w and 

lil/^ Uc|>uMlC,%vs: plc^c him cur l$vc,our 1 oyaliij an£ carnoto operation. : 

in all Hial* he may nmieriafc for Hie • 

Hw .Happing ot’^umtiind anA Ifie torment dfttU.'^Vri*0 allanjc,an^ 

i‘ it BE. IT i!AS% ^-v . , 

HsVCv. 'Olio I ikest resolutions tv engrossed,' trained and presented lo ..Hi? (PA'CCIICUCII 

*<* ific WHITE? IIM; WASHINGTON. Mi « a b&« of ■ 

^ood tkai‘ ke kas done our tauje on ifiomon-wrafte cver.l of.flucjusl- 101k.. I^Oc. 


fe'Kt -'*-' ii-v ‘P'resiSeut; 


Ptttcsl.* 


./r' / i 


Scranton. 



>«. 'ilrcasurei- 




86 
















































icir rooms 


ions were auzanimousiu ao 


k'WIlIi 



^llanaqor of & IHllSBMP <f ©cmnfoR, 

J>onah?S ffiah hecuttfjitf Housco) amassment for ffio eoenimj of^ec.l, 
)^07 ^ss'fxcrcrrt fo RoIsS oar anunal ^liciHOTwf <§0tvicC$ ’ in Honor 

o of our taparloHYoliwiSi 


it's most sincere 


. ///rf/ ///f.jt A.y r/////r//J /'' ///V y 
///r.n '///// /r . ///' ^sr.) </ //// 




/ 


V 


87 

























A very appropriate design for a Christmas card. 

The design was first carefully drawn with pencil from a rough preliminary sketch. Size over all about io 
X14 Panel enclosing scroll three inches wide and that of initial “C” 2^x4. Letters in word Christmas 2^2 in¬ 
ches high. Use water-proof India ink on all drawing and lettering to be finished in color. 

Color Scheme —Shades of green and red. Mix Hooker’s green No. 2 with a little Payne’s gray, and Chinese 
white. With a thin wash of this mixture cover background of panel also face of scroll. When this wash is 
thoroughly dry, put in background with a deeper tone of same mixture. However, do not cover scroll work with 
this wash. Work around edges carefully leaving face of scroll in the lighter tone for contrast. Aim for even¬ 
ness of tone in all the different washes. Next outline scroll work with a No. 4 lettering pen and India ink 
(waterproof). Rule lines enclosing initial “C” and scroll work. Initial “C” should be in red with ornaments 
in a light green tone. Complete the lettering next in order, giving the form, character and spacing of letters the 
most careful attention. Initials “A,” “H,” “O,” and “R” in red outlined in black. Shade letters in green using 
a “free brush,” that is a brush well filled with color, and this will give your washes clearness and transparency. 
The mask of Santa Claus gives the design an appropriate flavor, and should be drawn in the simplest and 
most direct manner for effective results. Use Chinese white for lines and dots, and for washes wherever a tone 
should be lightened for contrast and effect. 

Color Outfit —For the benefit of those who never attempted color work, we would suggest the following out¬ 
fit: 2 Brown Sable No. 7 brushes, best quality. Don’t try to use cheap brushes. A few colors will be sufficient 
for simple pieces of illumination, named as follows: Hooker’s green, No. 2, Ivory black, New Blue, Prussian 
blue, Yellow ochre, Crimson lake, Vermillion and Chinese white. Payne’s gray is a beautiful shade and one 
that the engrosser can use frequently. A few pans for mixing colors will be necessary. This is a simple inexpen¬ 
sive outfit and should not cost over three dollars. 


88 




































bcalli of iTltlr ickJ?a:nou 
who w amcmK n • ormiV 
JU\V)e ,uv 5mcmlv X'pjorc 
the i055 ol : oi;c to lohonvuv 
lui^ Ixvome atKvtiona foly 

v *■ t * —j 

dttadw by bn*) o»w«aHm 
an? b y ivlU tiong tokicliuviv 
never iiutm’J by the Imgfi 


occurrence 


acf: tha t toe mourn tor 
one toko -wag in ev ery wav 
awm v ohour v egp eer anb 
reoarb. tBe it " 


Lay off design in usual manner giving special attention to the form and action of the scroll work which 
is made the principle part of the design. Make vour pencil drawing complete in detail before inking. Block in 
text very roughly for spacing only. Apply color first. The ground back of the scroll is reddish brown, obtained 
by a mixture of Vermilion, Crimson Lake and Prussian Blue and Chinese White to give opaqueness or a vel¬ 
vet-like appearance. Use color quite thick. When background is finished, outline scroll with a No. 5 pen and 
water-proof ink and your work will now appear strong and snappy when before it appeared weak and indistinct. 

Mix a bluish green composed of Hooker’s Green No. 2 and Payne’s Gray, making a thin wash for scroll 
work. After applying this wash, add the color a little thicker for the shaded parts. The very delicate color 
outlining part of boarder can be obtained by a mixture of light red and cobalt. Lastly add Chinese White in a 
common pen for tracing and dots on background and initial “R.” 

Care in mixture and application of colors is of the utmost importance for success, and no one should be¬ 
come discouraged by failure to obtain the desire effects on the start. 


89 























































s\yr\\\\(jtor 
II con\n\erci2xl 
&r\ei ^rli/tic pdir- 
po./esXloloj'vvfcrk 


5 .^ 




We give herewith a design for tit 1 e 
or first page, which is full of ideas fcr 
students in decorative drawing. 

Size of an average album is about 
7x10. Leather covers cost from $3.50 up¬ 
wards. Sheepskin can also be used for 
covers tied with narrow ribbon. Cut 
paper so each sheet folded will make 
four pages. 

First make a rough sketch of design, 
aiming only for general effect and bal¬ 
ance of the design. Next follow with a 
detail drawing, giving critical attention 
to initials “T,” “A” and “R,” and scroll 
work. The scroll work will demand 
much study before a pleasing, graceful 
style can be mastered. Aim for bold, 
graceful curves, and proper arrangement 
of masses. Use a 4-H hard pencil on 
your detail drawing. 

Mix Prussian blue, Payne’s gray and 
Chinese white with considerable body and 
of sufficient quantity to complete the prin¬ 
cipal washes. The light tones were ob¬ 
tained by thin washes of the same color. 
Wash in border using a thin wash of 
gray, aiming for evenness in the tone. 
Carry this wash over scroll work leaving 
panel for initial “T.” After this wash 
is thoroughly dry, add the background 
which must be uniform in tone. Note 
carefully the treatment of light and shade 
in scroll work. Aim to combine deli¬ 
cacy and strength in these washes. A 
delicate hue was obtained by a few 
touches of Crimson Lake and Chinese 
white. Be sure to use a generous quan¬ 
tity of white in all washes, as proper tone 
quality cannot be obtained by transparent 
color. 

Initials “T” and “A” in shades of red 
with gold background. “R” in shades 
of gray on gold ground, and J in red. 
Use Vermilion, Crimson Lake and White 
for red. When color becomes thoroughly 
dry outline initials and scroll work with 
a No. 5 broad pen and waterproof ink, 
to give your color work strength and 
character. 

Underscore lines with red, and add 
little touches here and there according to 
your best taste and judgment. Always be 
sure, however, that these little touches 
enhance the artistic effect of your work. 

The other pages of the album should 
be similar in design but less elaborate. 

I he shield and decoration must first be 
draxvn in pencil and care should be used 
to preserve the swing of the design. Out¬ 
line the pencil drawing in water-proof 
ink and make a careful study of the color 
values before adding the wash. You 
may make many attempts before you ob¬ 
tain a satisfactory drawing but don’t get 
discouraged. Well directed effort wins 
success. Similar designs can be used for 
many purposes, including covers, head¬ 
ings, etc. Students should cultivate their 
ingenuity in adopting designs to various 
purposes, and while their work may not 
be entirely original it will certainly bear 
the characteristics of the artist. 


90 


















































This illuminated album page was ex¬ 
ecuted on pages cut to size 9x12 inches of 
Reynolds 3-ply bristol board. The fol¬ 
lowing is a brief description of the color 
scheme employed for this particular page 
and used also for the balance of the work. 

The initial “W” was rendered in two 
shades of red, with gold background and 
outlined in black. 

The gold background should be sup¬ 
plied first whenever the same is to be 
burnished to avoid scratching of the color 
in the event of it being the first to be laid 
on. 

The red is a mixture of vermilion and 
Chinese white. The vermilion is in it¬ 
self an opaque color and the addition of 
the Chinese white furnishes the lighter of 
the two shades. 

The bar in the border is done in dark 
red and French blue in alternating sec¬ 
tions, and is flanked on either side by 
burnished gold. 

The trailing or twisting ornament in 
the border is in dark red, French blue 
and green, each color mixed with Chi¬ 
nese white. 

The sprays of flowers are in washes 
of blue, purple and crimson lake and the 
leaves in green. 

The dots in the border are Chinese 
white and burnished gold, and the stripes 
in Chinese white and Naples yellow, the 
latter being used in the green portion of 
the ornament. 

The shading of the letters in the text 
is done with a purple wash obtained by 
the mixture of crimson lake and Prussian 
blue. The initials of the name, James 
R. Nicholson, are in red and dots in the 
small letters in burnished gold. 



limutii, - 

ourbcloue^ 

f <SxalteJ>tftuler, 


15 


the (Swr at heart. 

— as among the - 


, tu • 



91 






















































This piece of work will serve to show 
the student of engrossing one more of the 
various kinds of work the engrosser of 
the present day is called upon to turn 
out in his profession. The engrossed 
quotation was taken from a patriotic ad¬ 
dress. It was therefore deemed appro¬ 
priate that the flag itself be made the 
central and most conspicuous part of the 
design. If the general lay out of a piece 
of work be inappropriate, it matters not 
how skillfully the work may be executed, 
the result in all probability will be far 
from satisfactory to a discerning cus¬ 
tomer. 

The original of this piece of work was 
executed on a sheet of three-ply kid fin¬ 
ish bristol board 15x20 inches in size. 
The initial letters of the words “Star 
Spangled Banner” were done in vermil¬ 
ion mixed with Chinese white and the 
flag in its natural colors of red white 
and blue. The bars of the flag were 
washed in with varying tints of crimson 
lake. Lay in the lighter wash first and 
when quite dry add more color to the 
wash for the darker tints. The back¬ 
ground of the starry field may be done in 
Prussian blue and the white stars painted 
on top of it with Chinese white. 

The clouded background of the flag 
and the large initial “T” was rendered 
in a wash of blue and the shading on the 
letters in crimson lake. The initial is 
in purple obtained by mixing crimson 
lake with Prussian blue, the background 
of gold and the ornament in crimson lake. 
The lettering outside of that already de¬ 
scribed was executed in waterproof black 
ink and the white striping in Winsor & 
Newton’s permanent white, using a fine 
steel pen. 


A Tribute To The 



int rmg-mtr 

b miFa % 

■p our flail 






a 


92 































The original of the copy shown on this 
page was wrought in green with red for 
background of initial “N” and is quite 
effective and altogether pleasing. A good 
specimen of practical engrossing of today. 

Pencil initial and scroll work in de¬ 
tail, aiming for symmetry in the curves 
and accuracy of form. Trace in ink when 
you feel sure that the pencil drawing is 
correct in all respects. It pays to be par¬ 
ticular. Next lay off the lettering giv¬ 
ing arrangement and spacing close at¬ 
tention. Write the text with a No. 3 
broad pen. The text is a modification 
of the engrossing hand and is full of 
grace and dash. 

Color. The green was obtained by 
mixing Payne’s Gray with Hooker’s 
Green No. 2. For the red, Vermilion, 
Crimson Lake with a few touches each 
of Chinese White and Ivory Black. In 
adding the washes be sure that your 
brush is well filled with color. The flat 
uniform tone border will test your skill 
in handling color. 



0 


cH, mmb c f uttc vacant rtra mtittf ^ 


occupation 15 rcof rcsf. 


COWPEiP^ . 


93 












































































' 


A 


jrlt a meeting of flic 


)\rwM of 


tU 




\SSS \^/ VW V \ V' W / V'VA/ 'V Y uy ^ 

OpSfrmUim, ftefo^flarck 22nb.; l^OP^lRc 

foffou> ing tn Gute. ho flic memory of iRc . 


0 ^ 0=9 


\ a # — \s\s v v y v v v v v -v x wv v ’ r v v -v v 

I lua^oricrcb placed on rixcmmutes>ituh 

2lRcRBoar^ of^DiredorrofHic^hii’MIahonal -Band 

of e5 cron Km make recoil of iRc-^eaHucf fRe 1 

...Ill* „..l'..^ w .'... 

Iti'Jprpfli mmt of iliiaitistftutiiin for liuuntijumi' yearn 

‘ *-. Business 7 assodahuof exeeptionaf^acity an^> forcstykt, 

a personal ti iimit of exrpplional logaltg^ktnMinPS^ 

f Peis’participation mHiclarqor life ,ol- Hie. community.! 
Pis 7 puPfic seivicc, Pis (generosity, Pis rcsponsiocncss to am) 1 
anbeoonj fcqitimatc caff offer organizations miIfmake record, fnt tPis 
Goaref iroufo pface in. permanent form tfeir recognition of tReV’Bt HiatiS’W., 
Pirn, for to hisVounsef anb influence must be attributebmueRpftfcst’^^ 
| tPatis evibeneeb 'ey tPe single Jact tPat unber Pis administration as 
^TrcsivVnit, tPe accumulated surpfusof tfc Bank rose from. 35 tRousand 

'EM fn rntp million dollars, 4P£§3^., 

_.f$0$toNU} a pcrs'onafityuuff be mtdety feft in tRceoriv 

munity arid'beepty feft Bp tjwscivfw mere his associates in kis various 
undertakings.2Jo fiis’jamity tPe birectors of tRcdJhirMlahonaRBank/ 
extend tfie‘assurance of tPeirbeep sumpatity and their omnj-oefinaofo' 
r-eihcioitHik nosfi-^^=———^ Y 


<= 5 v 


To the left is presented the outline of 
the resolution to the right before any 
brush work was added. It was done 
mainly with a broad lettering pen. This 
gives a splendid idea how carefully the 
scroll work must be worked out in detail 
before applying color. Unless the foun¬ 
dation scroll work and lettering is care¬ 
fully done the final result will be a dis¬ 
appointment. 

Color lines should be broad and mas¬ 
sive rather than narrow, slender or weak. 
Study the graceful, harmonious curves 
and equal distribution of lines and 
values. 

The background of the initial letters 
are in gold and ought to be put in first 
before any color is laid on. 

The gold may be inserted in either of 
two ways: Gold leaf or brick gold which 
is brushed on evenly with a brush sim¬ 
ilar to laying on color. For the beginner 
the latter method is the easiest. A small 
brick of gold costs in the neighborhood of 
$1.50. A little gum arabic dissolved in 
the water will insure its sticking to the 
material on which the work is done, 
either a smooth or satin finished bristol 
board, (Reynolds preferred) parchment 
or vellum. After laying on the gold and 
when same is dry it is necessary to cover 
it with a piece of glazed paper and rub 
over same very briskly with a burnishing 
tool. This presses the small particles of 
gold ink into a flat, even surface, which 
may be left in that shape with a dull 
finish or burnished by the use of the same 
tool after removing the paper covering. 


















































































1 ’he supple effects in some of the back¬ 
ground is made with an agate point made 
| f° r that purpose. They may be put in 
i very carefully as to location of the dots 
| or they may be of the hit or miss variety. 
I The capital letters in line “Hoard of Di¬ 
rectors” and “Third National Bank” are 
| in gold. The small letters in the latter 
| line are in two shades of purple putting 
I on the lighter shade first. 

The small letter of the line Hon. Wm. 
I Connell are in two shades of green, the 
I capitals W. & C. in two shades of red 
I using a mixture of vermilion and Chinese 
I white. 

1 he large “ I'” at the top in three 
I shades of red and the “H” beneath it in 
1 two shades of red. The remaining two 
I large initials in two shades of green ob¬ 
tained by mixing Emerald green and Chi- 
I nese white. I'he mixing of Chinese white 
w ith any other color which in itself may 
| be transparent gives a solid opaque color. 
If these heavy colors are put on first, 
where they are used in connection with 
] gold background it is utterly impossible 
I to properly burnish the gold. 

The large initials might be alternated 
| in red and green if the engrosser sees 
I fit and probably might look better that 
I way. The ornament in this particular 
I job is put in in transparent washes of 
I light purple, greens, blues and reds of 
I two shades of each color, and a repro- 
1 duction can give no idea of what pretty 
effects may be produced in color. Let the 
student use his own judgment as to the 
I arrangement of the colors mentioned. 

I'he shading of the different display 
| lines in the Hon. William Connell resolu- 
| tions are put on in light washes of alter- 
I nate green and purple. The green is 
I Hookers and a little lampblack and the 
| purple a combination of crimson lake 
and Persian blue. 

I'he little circles scattered throughout 
the work are filled with burnished gold. 
The white dots in the initial letters are 
! Chinese white. 

One thing is absolutely certain, that il¬ 
luminating is the most fascinating of the 
! various styles used in the engrossing 
i business. 



mm i 


r1i; a ipcoting of Hie JfjklKU’ll i)| 


Of Smitttllll, IwlO^IarcR \$0$j7liK 

folfoumxg tribute ho fixe memort) of rixe . , ctn , 


u\\$ orJer<& placed on titcminiteto u’ih \ 

‘iHxcRBoaid oprectors of Hxc J IxirMIational IBqnll 
of eX'rantoix matte recore of the death of ike 


record of 


a business assoriatc of exceptional’sagacity and foresight. q 

n pormnial friimfr pF iwruptiniml (otfaltij^khu'iiitii'os. M 

participation in Hxc larger life of tHc communihj.lfcr^ 
His public service, His c/enerosihj, lx is responsiveness to 
arid ooertj feqitimatc catt, other organisations milfmake record, but this 
Goaf) would pface in permanent form their recognition of thedebt tixat is due. A jf 
Him, for to Hisoounsef and influence must be attri bated mu^ of the successf ^ 
that is evidenced Gi) the single fact that under His administration as 
jrosidcnf the accumulated surpfusof the bank rose from 35 thousand 

In otjp million dollars. 

jwftc k$$ of SO StrOM a personality U)iff be ividcRj feft in the 
111 muni R and deeply fcftbu those xvHd mere HisassociatesinHtsbariousr 
I unbertalcincs. to hisfamikj the directors of fHe ^irbllationaf'fBaiikc xk, 

PffBftOimii 4^1 iTianQl^^cic, yG 



95 

































__<y'N- 


9vC5ofutions" adopteS by Ific 

IliSilfi’rW 

of wmm4%wU ^caiii # 

Odin 4\€*arraix 

1 1 kpJ'Clliv Jn iftc0Wi&?ncc of<?lfmtafih| Sob, the rofl of 



On the fife time of proffer Curran He cfearfq and intmistak 

. .... abftj exempfifiedtheJtiqfiprinciplesofduhjandinteqrihj in 
a marked taqree.^Respondinq promptly to ooery caff sent forth by hi> official 
>ufy, also,in the name of efiarify ho aid the needy and distressed, lie thus- 
manifested his inordinate fooe for his- associates in office and tor the af¬ 
flicted members of the community in qeneraf. .He mas kind and qcntle in. 
his disposition tpioard his ieffoti’men-pleasant, happq andconqenial in his" 
intercourse u'itli the members of the }nspecfion?orce,and, in his untimcli) 
caff, the lossofso noble a character miff he widely felt in the community " 



mau rest in eoerlastma peace arid may the "wunteous ^ioerof. 

Seridlfts sweetest - consolation to tlie lived ones-of ourdeparted friendin tlihr 
uaffet) oftearsfand he it further 

Shat these resofutions bespread on our records, cfhd a copy thereof suitably 
engrossed, scut to the family of oar deceased Srot(ia~ 

^Rcspceffitl]p>uhtuitfo^ 

^ticfiaerff.^rcnnaii 

^aoi^tT^aci^ 

^hujiistiis QKc c jDade. 




Jj 



96 


























































^ tor mem;; wapt tVaajihcrani evcroluni 

romWo.trae qiiMairfhil s5civfcc nohorJu Jo that organ¬ 
isation,buffo the humanizingcause oI : oraanheMahot>ih6 

his life was icwjfei to making the or- 

qaniratiou akeftoctioo force that; workers might be inspired 
to creatoreffortsam** higheritaafc'for theircommoiiu’oJfarc 

J!kcrca>; flic^hilaielpfiia.IPi^env'entfon of tfc 

i2^tnKijcan ^ViVmtkm objSabor 

v\irecte^ fhe^resKVmhf thec%cricaiT^o^omtlOtI of 
4abor to conveq io the family ol : ^OUfcCKetUpOi^ 
tlie Jeep regret am* flic sorrouuf orqanfecd iaPOr at hur 
demise, therefore, be if 

^c$dW<!> ‘iTjliat pursuant to those iirectiou^aui _ _ 
in compliance *u»itti personal an^ officiafappreciatiouoftlui 

u\'rl(aniu*ortlrof l?£ jfieJcepsorrom 

an<S great regret of ' ^ c „ 

tfo iiioricau ^Vra fioinf Ji afor 

is fiarefij tenbevei to the family of the late JtOUHL temper 


This excellent specimen of engrossing is from the head and hand of Mr. P. \V. Costello, Scranton, Pa. The original 

is in colors and therefore much more attractive than here. 


07 






















































iND> OF HEAF^T AHO 
^CHEEJ^F UL DI5P05JTKW, SHE. 
Xo>> —!- LIVE5 1^0—i— 


Ike h/cnc ear ths fi<? 5 arc vrol 


ah ten i>ut to Tab 


c a wav 


ovcfc 01W5 


nulour miso'm 


a*n ourcJathcro' manfion i*air. 
(j)no i n; one our hop es grow bright er 
>> %u>c near the ^fctmng sh ore 
ofo r xoc linotr across i ke river 

one helore. 


01TC5 


TL 



^rr ^s: my .t 



--> 


fe 


.iyi- 4 -- 


98 















































































>- -Jserruc, j> hua uu] Itanos into tom 
D in* ran* forwinit nor tuV nor ora; 
?i *roor no morehatitot thtTporfitTc 
/ 5hu* lo ! nut own shall rontr to ntr 


jfor nm at aw aits tltjo mo rrfntcr ? /j), 
Jj stu nft nnttft tin* e ter nal nmno^ • t 
5*luit what jo mine shall lutomimt liter! 


’ey ■ he frienfts itorrit an'seeking ntr; 

Do wii tti ra hltrme nut IntvK nstran. 
J porrltatuieHtetfOrolurotinn . j 

( Oltat matter if 4 * ght rift alone? 

31 mail with jot) for tin* romiita gearor 
lt?n heart sltal; reap whiTrifnas sown, 
£lnJt qarnrrujT the frui ts of tears. 

‘) (the ntoterotutow thrtr oum.onb draw 


£ yo flo ws the tjo od with eqnol law 
6litto thesoul of pur e fre ights'. 

(The stars romr uiijlitlu to llteskn, ; 

elite tidal wane unto tin* ora: 

1)or time,nor spore,nor freep.ttoehiflh 
(fan Urnr nuuntnt aw mi from ntr. 


If | l *1 / 

Ji .j4S&mS(% 

r J&yle 

7mm 

/ / /A 

[Pit 


99 








































































































pro5pcrin j 


and 


xb contentment be witk 


non* am* ever 


The scroll work is complex yet every stroke has a meaning. Harmony is the key note of every pleasing 
design, of every beautiful picture. Remember this fact, and aim to avoid discordant lines and false color notes 
in all of your work. 

Size of original 135/2x7^ inches. The border must be pencilled very carefully 

The line, “Season’s Greetings to You,” may be pencilled for character and spacing of lettering. The small¬ 
er lettering may be spaced only, and then written with a No. 3 broad pen. Outline scroll work with a No. 4 

broad pen. Small dots quite regularly spaced for background. The thickness of stroke outlining border and 
scroll work should be uniform. The stippled initials are in pleasing contrast to the solid black text letters. 

This design was gotten up for a card to be printed in full color. We would suggest that you buy some cards 

in color as you will find them a great help in these lessons. It is difficult indeed to write instructions of suffi¬ 

cient clearness to enable the student to produce harmonious color work from a design printed in black. How¬ 
ever, form is of the utmost importance and color can be mastered by close study of good specimens. But unless 
you erect your structure of art knowledge on a foundation of good• drawing it will surely fall. 



100 























































































101 




























































































CERTIFICATES AND DIPLOMAS 


Diplomas are outlined or designed in the same manner as resolutions described on page 70. The name of 
the school is usually the most important part and, therefore, should be the most conspicuous part. It is usually 
larger and contains more ornament than the rest of the diploma. It is very important to carefully outline the 
entire design in pencil in order to get balance. 

It is worth considerably more money to prepare a diploma in pure India ink for engraving than to pre¬ 
pare it in thin ink not for engraving, from $25.00 to $50.00, being fair prices for the former while the latter can 
be made for from $2.50 each for short, simple ones to$io.oo and up, for more elaborate work. Where $2.50 to 
$5.00 fresh-from-the-pen diplomas are ordered in large numbers, one can make them quite profitably. One can 
make the lay-out on all, then the headings, and then follow with the body much more advantageously than if 
each were completed separately. 

In making copies of the diplomas herewith, persons who are not good in pen drawing should omit the school 
buildings. The present day tendency is to omit them. Make drawings at least twice the size of the copies. 



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y/yy, 




liiitlidnr nf iL'miiiiii'rrial Siinnt 


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_ 'principal jDcpt. 
-AcT.t.prtu *Dep’t. 


_*prc‘ji6mt 

^upeviutcnbcut Dept 


102 



































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iWi> of 'Education of Hk Sorriioni of Mfafioma 

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103 


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104 




























105 













TITLE PAGE OR ROSS PAPER 


This design was made with pencil and knife instead of with pen as might be supposed. The paper is pur¬ 
chased already ruled and tinted as shown by the background. It is not only ruled but “ribbed” or creased at 
right angles to the ruling. By drawing a pencil across its surface a cross-hatch, dark tone or shade is produced 
as shown in the shadows and the word “Wreath.” Bv scraping the paper with a knife a lighter tone is pro¬ 
duced as shown in the high lights, scroll, flowers, etc. 

The paper or cardboard has a coated, chalk-like surface which scrapes easily, or upon which an oiled or 
lithographic pencil works well and engraves successfully. 

Designs of this sort are first created on ordinary paper and then carefully transferred to the Ross paper, 
preferably with blue as it is not so apt to show up in the engraving. It is a quick method of securing good print¬ 
ing results of a wood cut like nature. It is purely a commercial art type of work and not intended for framing. 
It is quickly executed because only the lights and darks need to be produced, and they are done bv simple pro¬ 
cesses and easy mediums. 

This design offers a good example in symmetry or balance, of a mechanical type. Some cartoonists employ 
this kind of paper. T. Nast used it with telling effect, and others. 


106 























































































































































































































































































DESIGNING 


Designing—The art of grouping and creating forms in such a manner as to tell a truth or to ornament one, is 
well worth studying. The basic principle of designing is drawing. To be a practical designer means that one 
should be able to draw almost anything. But after this ability is acquired there is much more to be done. One 
must have some originality in him by nature as well as by acquirement, to become expert in designing. 

Drawing leads to designing in that it causes the eye to observe form, color, light and shade, contrast, group¬ 
ing, etc. Originality consists chiefly in grouping that which has been seen separately. Drawing causes one to ob¬ 
serve and depict pleasing contrasts of light and shade and form, and designing depends upon these things. 

Designs are, as a rule, truthful and decorative. They usually illustrate some truth or fact and at the same 
time express beauty. Decoration is the art of ornamenting useful things. It derives its material from nature 
and geometry. Natural forms as conventionalized by making them conform to mathematical exactness. 

Designs should be well balanced and harmonious. They should contain elements of contrast but not of dis¬ 
cord. They should be neither monotonous nor striking. There should be Harmony and there should be contrasts. 
Truth and beauty should be uppermost in the designer’s mind. 

This is a kind of work that machines cannot do because it takes brains. Designs take no small amount of 
thought, taste, judgment, and originality. A good designer enters into the spirit of the thing to be illustrated and 
adopts and adapts things to that particular purpose. 

The following designs are given to illustrate the things of which we have been speaking. They are also 
given to show how lettering may be applied advantageously in designing. Lettering is an essential part of de¬ 
signing. There is much to learn about lettering to adapt it to a particular purpose and space. It is far more 
flexible than type and less mechanical, if done by a master. It requires patience, skill, detail, judgment, and 
originality. 



out the old.rmg m the r>eu>, 
rg, happq bells, across the snou>; 
<T>beqear is going, let bins .go; 
out the false, ring io the fra 


||;irg out the grief that saps the irarxi, 
For those that here caesee r>o more; 
^irg out the feud of rich aixl pool 
d^ing ip redress to all nsaoKiod. 


2. A H E R., CO L . O . 


| l H | 1 1 I I 1 I I I I I I II I I I I I III I 1 II 




First locate and sketch in outline with pencil the bells, church, and smaller illustrations. Then sug¬ 
gest lettering. After this use India ink, but for the lettering use a flexible pen. 


107 
























































































bird twittered 615 tbe be&eberj boy ft), 
At)d ’o&tb tbe b^lock 


Beijte^tb its brisbt cold harder), ea)d kept dry • 

A circle, or) tbe e&rtb, of Withered 1 eeWes, 

% partridge fotri)d a shelter. Tbroy?b tbe 5r>oW 
% n#it spmt)<f .vAy. Tbe lighter truck 
Of toy, &r>d % rueeoorfs tmd ^tb,Were there 
CroSolye e^cb other. Fran) bis bollov/ tree 
carrel We .5 itomi, favtberib? the lyite 
asked the Wiliter cold A\fi sWay 
Of Writer blast,to stake then) fro 15 their IjoW 

Will i^rn Cdle.13 BrqM}t 




The hemlock deserves your serious attention. Study how the dark background and shadows serve to 
make the snow effect. Study the unstudied effect in the lettering, and then create a whole alphabet of 
harmonious characters. 



Tis pleasant to- behold the wreaths of smote 
Roll up amonp the maples of the 


ID here the shrill sound of youthful uoices ujatres 
The shriller echo, as the clear pure lymph, 

That from the wounded trees, in twinh mp drops, 
Falls, mid the polden brightness of the morn. 

Is pothered in with brimminp pails, and oft, 

UJielded bp sturdy hands, the strobe of ase 
fTTahes Ihe woods rmp.” 


Study the perspective principle as revealed in the relative size and location of trees. The lettering 
will demand much care. See the “wreaths of smoke,” suggestive outlines which form the trees, etc. Make 
a whole alphabet of this style letter. 


108 
































































1c) I lively I vJify Rosier r\oW 
c ^F(\ro\j^k tRe jurrows plocU a,lor\g, 
e) |r ^>n5 to lAe cre&kir^ plou^R 
A\drvy a. c|ua.irvh old courvhy sor\^; 
A\orr^ir\j 5 na^ 5 , 

"As ke air^.5, 

e>.i5e oj" ohRer Glpriry^s. 


/ 


drer\ r\ow ir\ every sckool 


Wisk 


&wao/ 


-Hy 


e weary kour* 

[c)qu klvj i\ow tkey Reel ike rule 

fe)arrin,j5 +Rerr\ jrorr\ kuds aivd -Rowers, 
How iRey sRouR 
ISourydira^ ouR 

Haaes aad Reids lo ra.ce akouR- 


W C PFNNfTT 


The serious and the frolicsome “teams” should each be studied carefully. The rear view of the former 
is much simpler than the front view of the latter. Study effect of color in the first and of shadow in the 
second. Don’t overlook nor overdraw the lettering. Use coarse, smooth pen for lettering. 




to)boD Ho roorrq krb doHb §i!<j 
to)iH bis s«n$ lb 1 ? sciroroor boats, 
$d<J Hoir mb Ho swoJIooos boild 
Id Ho tool's w><! bops ol fowors, 
(bool Ho §o14od brooro-lloooor boros 
M \boub Ho u>s.sbo, 

M Ho t»\i<loD (*0\o| rohams 


T 

SOD, 1 

<r 

< R 
o 

<*N 

. O 

o 

bbo hmos! 

s 

70 b< 

j]77i7)or bimos! T 

70 bp 

ring 


.ZAri LR.'dfi 


J^rrq fyrrmll 



The swallows and lettering need careful attention. The perspective of the former and the angles of 
the latter will demand study. Note how the one swallow has been placed where the lines of lettering were 
short. 


109 















































Flowers are tedious to draw, and difficult. Study nature—copy nature. Note effect of border, how 
it holds the parts together and unifies the whole. 


I 


Far back in the aacs. 

The plough with wreaths was evomneb; 
The banbs of kina,* anb saae* 

Enbwincb tbc chaplet rounb: 

Till men of spoil bisbaineb tbc toil 
Fp mbicb tbc morlb ma* nourished 
.4nb bar* of bloob cnticbcb tbc *oit 
albcvc arccn their laurel* flourished 
-Horn tbc morlb her fault repairs — 
Tbc avail* that stains her stovn; 
jinb meeps her crime* amib the cares 




Tbc proub throne shall crumble. 

The biabcm shall mane, 

The tribes of earth shall bumble 
The pribc of those mho reian; 
j-lnb lllar shall lav bis pomp awa\\- 
The fame that heroes cherish. 

The alorr carncbinbcablp trap 
nhall Vabc, bccap, anb perish. 
Honor waits, o’er all the earth, 
Throuah enbless aenerations, 

The art mat calls her harvest* forth, 
j-inb feebs tlV expectant nations. ” 





See how simple in drawing the wheat heads are, also the plow and “wreaths.” Note border of 
wheat grains. Study the old-time text letters. See the little shadow beneath each grain of wheat. 


110 



























wee' 

t'oiw keave i\, 


>tc\r on tke breast of tl\e river* 

^ > marvel oj bloom and <*r ; '''” I 
Did vovi fall n^Kt down |pun. 

C\rt of ike sweetest place? 

^ ovl are wkite as tke tkou^kts of an nnyyd, 

\oxir > keart is steeped irv tke sun: 

Did vom ^row ii\ tke Golden City., 

Nty P v,rc arv d radient one? 

‘ A[ 

Aav, nay, 1 jell i\oi o\it oj keaverv; 

No i\e ^ave me my saintly wkite: 

It slowly <^rew from tke darkness, 

Down in tke dream niy^ktv 
From tke ooze of tke silent river 
1 won nyy y^lopy and c^pace. 

W kite souls fall not:, O mv poet, 
Ikey rise to tke sweetest place.’ 







Note the soft, sketchy, actual-pen-like appearance of lettering, caused by tinting rather than black¬ 
ing the face of the letters. See how the slant of the verses agree with the slant of the n’s and m’s. 



PXh: 


Grape vines are quite artistic when drawn with care and twisted 
of underscoring in lettering. 


with discrimination. 


Study effect 


111 


















































nil 


i|Pj~niong life slubblcd corn 

[he blilfie (mail pipes at'morn, 

Iftnerry partridge dry ms in bidden places, 
pid flittering insects fleam 
>ve Ibe reedy stream, 

'busy spiders spin tlieir flinty laccs- 

Ws. Georfcc Arnold. 




Z &N E R. co u o 






m- 




K. t 

9 s 

-r'i ^ J 

'1 

6 e^r-r —-t. . '.Wfev, 

' .< 7 , T , 

K JL 


'* 4 *w 



Note perspective of shocks of corn, fence, etc. See how detail diminishes with distance. Note how 
the lettering gets lighter toward the right as it recedes from the center of the picture. 



/\fvi I l-> ,C O L. , O. 


([be mclcmckoly d&y5 Ivwc con\c, 
hkc saddest of hkc \Cv\r; 

Of wwilmci winds, ,\nct n-xked woods, 
<M\d meadow? brown \nd sere; 
enped in hkc kollow of hkc ^rovc, 
hkc Nukimn leaves licdccvd; 
cy rushlc he hkc eddying ^ush, 
cu\d ho hkc r&bbits trend; 
c robin nnd hkc wren nrc flown, 
nnd from hkc skrubs hkc jny, 
nd from hkc wood-hop caIIs hkc crow 


% 




Study the frost-like effect of background and windiness of foreground. The figure and contrasting 
background suggest the opposing elements of nature. Study the four corners. 






112 

































































































CK^tU ii> h/'jSiU. 1 Vhm i La 




La». A A -u Mt ,. a 


0 ILlinPer, ruler of Hie inuerPed gear, 

Thg scaPPered hair uiiPh sleep like ashes filled, 

Thg breaPh congealed upon Phq lips, Phg cheeks 
Fringed ujith a beard made uihiPe uiiPh oPher snouis 
Than Phose of age, Phg Forehead wrapped in clouds, 
R leaFless hranch Phi) scepPre, and phi) Phrone 
R sliding car, indebPed Pa na wheels, 

BuP urged bi| sPorms along iPs slipperg wag, 

I loue Phee, all unlouelg as Phou seem’sP, 

Rnd dreaded as Phou arP ! Thou hold’sP Phe sun 
R prisoner in Phe geP undawning easP, 

Sharpening his journeg bePween marn and naan, 

Rnd hurrgmg him, impaPienP of his sPag, 

Down Po Phe rosg uiesP; buP kindlg spill 
CompensaPing his loss uiiPh added hours 
Df social cnnuerse and insPrucPiue ease, 

Rnd gaPhering, aP shorP noPice, in one group 
The familg dispersed, and fixing PhaughP, 

RoP less dispersed bg daglighP and iPs cares. 

I crown Phee king of inPimaPe delighPs, 

Fireside enjogmenPs, home-barn happiness, 

Rnd all Phe comForPs PhaP Phe loiulg roof 
Of undisPurbed rePiremenP, and Phe hours 
OF long uninFerrupPed euening knaui. 

Uiilliam Camper. 




The lettering in this design is very compact 


and uniform, yet legible. 


Note how close the lines are. 


Study spacing between 


words. 

















Katherine: Lee Bates 


113 
















































1PECUI 


BUSINESS 




114 























































































































115 




















































































































































ART OF DRAWING is ns old as history; even older, as drawing devel¬ 
oped before writing. It is an art of expression, much as is music, speech, and 
writing. Its means are forms and shadows instead of sounds, words and char¬ 
acters. 

The art of expressing thought by means of outlines, shades and colors, is 
not as difficult as is generally supposed ; application rather than talent being the 
necessary requisite. You can learn to draw, and consequently to express thought by form, if you but 
intelligently try. 

Like in learning every other art, there are good and poor, right and wrong methods of learning 
and doing. The accompanying illustrations are arranged and graded to show how to begin the art of 
drawing, and the following suggestions are for the purpose of telling how. It would be a good plan 
to read all of the instructions before beginning to do any of the drawing. Reread and study every 
word until you know it all thoroughly. Know how and the “do how” will soon follow. 

If the illustrations herewith presented and the instructions given will arouse some latent energy or 
talent, develop observation, or awaken appreciation, their mission will have been achieved. 

Use good steel pens (Gillott’s 303 and Zanerian Ideal) ; firm, fairly smooth, white paper or card¬ 
board and Zanerian India ink. A medium hard, high-grade pencil is necessary for first blocking or 
outlining of picture preparatory to the pen and ink part. A straight holder may be used exclusively, 
but an oblique holder with pen point well elevated is a good instrument for real smooth lines. 

The pen strokes shown in the first illustration should be practiced until they can be made well and 
without blots. The ink cup, bowl and books show pretty plainly what to do first as well as last, ex¬ 
cept that the first outlines in each group should be in pencil instead of ink as shown. 

The window or arch will prove to be a good thing to learn to make lines parallel and cleanly. I he 
candle, book and cushion will prove more difficult in outline, but easier in the shading. I he last group 
of flowers, books, lamp, quill, etc., will prove to be comparatively easy, if you will but proceed cau¬ 
tiously. 

A few “don’ts” might not be out place here: Don't hurry; don’t attempt too many things at 
first; don’t do more than one thing at a time; don’t expect to learn it all in a day or two. 

First discover the proportion of the object to be drawn—its relation of width to height, and be 
sure you discover what it is before going on to something else. Success or failure begins right here. 
Therefore these are not idle words to be read hastily and as soon forgotten. Just because the drawing 
looks rapid, do not conclude that it was done rapidly or without much thought. The probabilities are 
it represents more thought than appears on the surface. 

Second, study carefully the shape of the object—whether square, round, regular or irregular, etc., 
and this will involve critical observation and care. Do not proceed until you are sure you know the 
form and have it suggested in pencil. 

Third, observe the light and dark places in the object picture, and know why they are light or 
dark. Study the laws of light and shade and shadow and effect or contrast. 

The three illustrations of the jug show plainly what to do first, second and third. And the three 
drawings of the basket illustrate clearly that different lines or technic may express the same form. 

After copying some of the simpler drawings try to draw from similar objects. This will be more 
difficult at first, but it will be more stimulating and strengthening after the first few trials and partial 
failures. 

Plants, boxes, fruits, vases, dishes, lamps, book, etc., etc., should be drawn in pencil at odd times; 
the better ones to be finished in ink if desired. 

Remember that effect is more valuable than fine lines; and good proportion better than tedious 
detail. Strive for the general first, and details last. 

Drawing is the foundation of portraiture, carricature, designing, or illustrating; therefore be 
patient with perspective, light and shade and shadow, proportion, outlines, details, etc. Success is sure 
to follow every well-directed, persevering effort. 



116 











117 











































































































































































































118 
































A . \ 






119 


























This is one of the many specimens of pen drawing made direct from nature by C. P. Zaner which appear in the book entitled 
“The Road to Sketching from Nature,” detailed instructions accompany the sketches both of which are intended for the 
student who desires to learn to sketch from nature. 





















































































































































PEN POR J RAI I is one of the most attractive and interesting of pictures because it 
is a portrait plus two personalities—the one drawn and the one drawing. For all 
art is the objectified opinion of the artist—of what he thought he saw. No other 
phase of art is so pregnant with character and personality. The study of human 
nature accompanies the effort to depict likeness and inclinations as represented by 
the various features and expressions which compose and individualize faces. 

The diagrams make plain the proportions of the average or ideal side and front 
views of the head. Note carefully the location of the eyes, nose, mouth and ears. 

1 he simple profile views of the young lady and Washington will prove fascinating studies to begin 
practice upon. If your ability to draw is crude, practice observation, and perseverance will improve it. 

After copying these pictures, try a sketch from life by having some one pose for you. The three 
pencil drawings of the man show how to begin the outline and then the shade. Look closely to deter¬ 
mine the exact proportion of the head before you attempt to draw any feature, such as the nose, fore¬ 
head, mouth, eye or ear. 

The two illustrations of the boy show the value of shadows and the effect of reproduction in en¬ 
graving. 

The sheet containing the dozen portraits represents pencil drawings made direct from life and re¬ 
duced about one-third in reproduction. Note the various effects of light and dark backgrounds, of 
features bold and subtile; of hair light and dark; of technic in outline or mass. 

The three sizes of the bearded person show very clearly the appearance of the original drawing as 
well as of the customary fine effect secured by photographic reduction in engraving. 

The group of four young men beneath offer good material for simple, newspaper treatment as 
well as good examples of decorative ornaments and backgrounds. 

Idle study of races is a most interesting subject, suggesting as it does the evolution of man. 

The three portraits beneath, show the photo from which the large drawing was made, and the 
small picture made from the drawing. It also shows wherein a pen drawing naturally differs from the 
photo, and wherein it excels in strength and contrast. 

The Gaspard and Chapman pictures are each masterful and unlike, the former representing 
modern and the latter fifty-year-ago technic. 

The Costello portrait is a fine example of the pen artist’s art. It Was reduced but little in repro¬ 
duction and it is therefore a valuable piece of art for the student. 

The pictures of young ladies on the last sheet devoted to portraiture represent brush work instead 
of pencil or pen. This class of portraits is done with water, brush, and lamp black or some kind of 
water color or India ink. 

It is a good plan to copy a few drawings and then to try similar ones from life. And if no one 
is near to pose for you, seat yourself before a mirror and begin, as shown in the initial letter which 
starts this page. 

Repeated attempts are sure to strengthen your powers of perception and performance, and a more 
intimate relation to human nature and art are sure to follow. 



121 






6IDE VIEW BA5ED ON SQUARE 



FRONT VIEW BASED ON OVAL. 





I 

















































































































123 











Mi 


E. R . r E LTO N 


1 •> i 























































































126 


































































127 







































































































128 

















































[OU will find figure and animal drawing doubly interesting and difficult, because the 
same problems of disposition and temperment will confront you as in portraiture, to¬ 
gether with the evasive quality called action. The first essential in figure sketching 
is that of proportion. How many “heads high” is the person to be drawn, or how 
much higher is the horse than he is long;' Be sure you determine these facts before 
doing much if any drawing, else you may make vexing errors and enumerable era¬ 
sures. 

1 lie next thing which deserves your attention is balance or action. How much 
does the body bend or sway this way or that? What is the particular or character¬ 
istic motion made by the person or animal when in motion How can I represent it? 

1 he figures of the violinist and ball player arc splendid studies, the latter being much the easier 

of the two. 

1 he sailor with weapon of offense and defense looks as though it made but little difference to 

him in which capacity he used it. His sitting posture suggests ever the sway and swagger of the rover 

of the saltv sea. 


And how delightfully dainty and graceful are the figure drawings of the decorative ladies to the 
left of the half scornful sailor. 

Unless you learn to see these things in life and nature, you need not hope to put them on paper in 
the form of art. 

Then, too, you must learn to see lights, shades, shadows, and contrasts; high lights, middle tones, 
and darks; projections, planes and depressions, etc. 

The sketches of the swan seems natural and yet quite decorative. As much almost can as truth¬ 
fully be said of the head and neck of the horse. 

I he goat is a simple, suggestive study, with its still simpler and more suggestive background. 

And the bevy of birds so bent on something to eat, who could or would kill them? Note how dark 
in color contrast with the surrounding background! See the decorative curved border! 

The Oregon pheasants are splendidly drawn amid the natural, grassy environment. 

The head of the young bullock with the halo-like ring about it, looks almost as sacred as an 
oriental bull, but it is so only because the artist was looking for innocence rather than for the devilish. 

The wounded bird excites our heartfelt pity, and we instinctively wonder how any one could be so 
cruel as to wound so innocent and lovely a creature! But do not let your sympathy keep you from see¬ 
ing the peculiar technic, which, although pen-like, was done with a tool on copper or steel. 

The lion makes a splendid study, not only in expression and pose, but in splendid pen technic as 
well. See how darkly and simply and superbly the mane has been massed in. 

The faithful sheppard dog seems to hardly realize what a formidable foe he is looking at. But the 
technic reveals another’s hand, which also discloses the fact that the peculiar relationship between the 
subjects is but a trick of the compiler’s art. 

The Indian and pony are, by all odds, the most interesting and attractive subjects, largely because 
action is very vividly depicted. This is a splendid specimen to copy, while the sheep picture can be 
studied better than copied. 

The sheep fold is a splendid example of simple, bold masses of light and dark enhancing the value 
of each, and depicting vividly the fleecy subjects. 

When you see an attractive or impressive picture, endeavor to discover the cause of its attractive¬ 
ness or impressiveness. This finding the “cause” will help you greatly in expressing your own observa¬ 
tions, memories, and imaginings. 

As a student, you will do well to try your hand at drawing various animals. In due time you 
will become specially interested and expert in drawing this or that species of the animal kingdom. 

But remember, the same knowledge of light and shade and shadow, and the same facility in pen, 
pencil or brush handling will be used in drawing animals or objects, portraits or designs. Art is the 
medium of expression, and expression is but a bursting forth of perception. 1 herefore, see clearly, 
think earnestly, and the hand will soon catch the cunning necessary for successful portrayal and sug¬ 


gestive pictures. 


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r ' ,juX 


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PLAIN USEFUL LETTERING is the title of a book of 32 pages, 5}4x8 inches, which con¬ 
tains the essential alphabets that all should learn for label and package marking,. blue print, mechan¬ 
ical and architectural drawing purposes, show card lettering, text lettering for diplomas, etc. The 
book is especially intended for class use in Junior and Senior High Schools, Colleges, and other institu¬ 
tions where lettering is, or should be taught. All pupils should learn a certain amount of pen lettering. 
With the aid of this book, any pupil can master sufficient lettering for ordinary purposes in a short time. 
In fact, with this book he soon can learn to fill diplomas with the broad pen, or to letter drawings and 
packages with the common pen. The Old English Alphabet is thoroughly treated, as well as numer¬ 
ous other alphabets. Price, 25c per copy, postpaid. In quantities of six or more, 17c per copy, post¬ 
paid. 

The publishers of this book, Zaner & Bloser Company, also handle materials for engrossers, pen¬ 
men and pen artists. Write for prices. We aim to carry the best. 

ZANER & BLOSER COMPANY, 

Columbus, Ohio 


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